#angela pleasence

[forever70s]

"From Beyond the Grave" (1974)

[weirdlookindog]

Angela Pleasence in From Beyond the Grave (1974)

[sconesfortea]

Countdown to the 60th anniversary rewatch | 3.02: The Shakespeare Code

[movierx]

Symptoms (1974)

[moviemosaics]

A Christmas Carol

directed by Clive Donner, 1984

[celluloidrainbow]

SYMPTOMS (1974) dir. José Ramón Larraz Helen has invited her friend Anne from London to stay with her at her isolated country mansion, despite it being run-down and Helen only occupying a few of its numerous rooms. Helen’s instability becomes increasingly apparent to Anne, but her concern about her friend’s wellbeing gives way to broader questions that plague her about the strange behaviour of Helen’s staff, strange noises in the house and unanswered questions about a previous house guest. (link in title)

[annabolinas]

Angela Pleasence as Catherine Howard in The Six Wives of Henry VIII (1970), Episode 5: Catherine Howard (written by Beverley Cross)

edited by me; apologies for any remaining artifacts!

Henry VIII was played by Keith Michell, while Will Somers (2nd picture) was played by Howard Goorney.

[movie-titlecards]

A Christmas Carol (1984)

My rating: 6/10

They've made some rather unnecessary changes to the story (chief among them an introduction to Tiny Tim, who is played by a frankly awful child actor and should've been featured as little as possible), but Scott's performance is very, very good indeed - possibly the best performance of this particular character I've ever seen - and elevates the whole thing a lot.

[vsthepomegranate]

Symptoms (1974)

by José Ramón Larraz Gil

[esonetwork]

From Beyond The Grave | Episode 406

New Post has been published on https://esonetwork.com/from-beyond-the-grave/

From Beyond The Grave | Episode 406

Jim reflects on the final anthology film by Amicus Productions – 1974’s “From Beyond The Grave,” starring Peter Cushing, David Warner, Wendy Allnutt, Rosalind Ayres, Marcel Steiner, Ian Brennen, Donald Pleasence, Angela Pleasence, Diana Dors, John O’Farrell, Ian Carmichael, Margaret Leighton, Nyree Dawn Porter, Ian Ogilvy, Lesley-Anne Down, Jack Watson, Ben Howard and directed by Kevin O’Connor. Four stories centering around a strange curio shop are woven together nto a tale of the fantastical. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

[forever70s]

Angela Pleasence (1970)

[claudia1829things]

"SILAS MARNER" (1985) Review

"SILAS MARNER" (1985) Review

I have seen a handful of television and movie adaptations of novels written by George Eliot. But the very first adaptation I ever saw was "SILAS MARNER", the 1985 version of Eliot's third novel published back in 1861. My recent viewing of the production led me to reassess it.

"SILAS MARNER" begins with an English weaver living with a small Calvinist congregation in Lantern Yard, a slum street in a Northern England city. His life falls apart when he is framed for stealing the church's funds, while watching over the congregation's ill deacon. Worse, his fiancee leaves him for his so-called best friend, the very man who may have framed him. Shattered and embittered, Silas leaves Lantern Yard and arrives at a rural village in the Midlands called Raveloe. Although he resumes his trade as a weaver, Silas' traumatized past leads him to achieve a reputation as a miser and a loner in the community.

Silas' move to Raveloe eventually leads him to cross paths with the community's leading citizens, the Cass family. The head of the latter is the elderly Squire Cass who has two sons - Godfrey and Dunstan. Godfrey, who is the squire's heir is secretly married to one Molly Farren, a lower-class woman and opium addict from another town, who has given birth to his young daughter. Godfrey is also engaged to a young middle-class woman named Nancy Lammeter. Dunstan is a dissolute wastrel who constantly loses money via excessive gambling. One night, a drunken Dunstan breaks into Silas' cottage, steals the gold coins that the latter has been hoarding and disappears. Through a series of events, Molly plots to expose her marriage to Godfrey and their child during the Cass family's New Year party, but dies in the snow before she can reach it. Silas, who is emotionally upset over the loss of his coins, finds both the dead Molly and the child. Although he informs the partygoers of Molly's death and the child, he assumes guardianship of the latter (renamed Hephzibah "Eppie"), much to the relief of Godfrey, who can now legally marry Nancy. All goes well until Godfrey and Nancy's failure to have children threaten Silas' newfound happiness as Eppie's father years later.

What can I say about "SILAS MARNER"? I can honestly say that it was not one of the best adaptations of a George Eliot novel. Then again, I do not consider the 1861 novel to be one of her best works. I realized that Eliot had set the story either around the end of the 18th century or around the beginning of the 19th century. It was her prerogative. But both the novel and the movie seemed to reek of Victorian melodrama that I found myself feeling that Eliot or any adaptation could have set the story around the time it was originally written and published - the mid 19th century. The story is, at best, a good old-fashioned Victorian melodrama. I would never consider it as particularly original in compare to the likes of "MIDDLEMARCH" or "DANIEL DERONDA".

"SILAS MARNER" tries its best to be profound on the same level as the other two Eliot stories I had mentioned. But I had a few problems with the narrative. What was the point behind Dunstan Cass' disappearance and theft? Yes, he stole Silas' hard earned money before he disappeared. I got the feeling that the stolen coins seemed to serve as a prelude to Silas' emotional attachment to Eppie. But why have Dunstan take it? How else did his disappearance serve the story . . . even after his dead remains were found close by, years later? In Eliot's novel, the discovery of Dunstan led brother Godfrey to form a guilty conscience over his own secret regarding young Eppie and confess to his wife. But in the movie, it was Godfrey and Nancy's inability to conceive a child that seemed to finally force the former to confess. Unless my memories have played me wrong. Frankly, Dunstan struck me as a wasted character. Anyone else could have stolen Silas' money.

I also noticed that Giles Foster, who had served as both screenwriter and director for this production, left out a few things from Eliot's novel. I have never expect a movie or television to be an accurate adaptation of its literary source. But I wish Foster had shown how Eppie's presence in Silas' life had allowed him to socially connect with Raveloe's villagers. Eliot did this by allowing her to lead him outside, beyond the confines of his cottage. The only person with whom Silas managed to connect was neighbor Dolly Winthrop, who visited his cottage to deliver him food or give advice on how to raise Eppie. I also noticed that in the movie, Silas had never apologized to another villager named Jem Rodney for his false accusation of theft. And Jem had never demanded it. How odd. I also wish that Foster could have included the segment in which Silas had revisited his former neighborhood, Lantern Yard. In the novel, Silas' visit revealed how the neighborhood had transformed into a site for a factory and its citizens scattered to other parts. Silas' visit to his old neighborhood served as a reminder of how his life had improved in Raveloe and it is a pity that audiences never saw this on their television screens.

Yes, I have a few quibbles regarding "SILAS MARNER". But if I must be really honest, I still managed to enjoy it very much. Eliot had written a very emotional and poignant tale in which a lonely and embittered man finds a new lease on life through his connection with a child. Thanks to George Eliot's pen and Giles Foster's typewriter, this story was perfectly set up by showing how Silas Marner's life fell into a social and emotional nadir, thanks to the betrayal of a "friend" and the easily manipulated emotions of his neighbors.

Once Silas moved to Raveloe, the television movie did an excellent, if not perfect, job of conveying how he re-connected with the world. It was simply not a case of Silas stumbling across a foundling and taking her in. Even though he had formed a minor friendship with Mrs. Winthrop, having Eppie in his life managed to strengthen their friendship considerably. The movie's narrative also took its time in utilizing how the Cass family dynamics played such an important role in Silas' life in Raveloe. After all, Godfrey' secret marriage to Molly Farren brought Eppie into his life. And Dunstan's theft of his funds led Silas to re-direct his attention from his missing coins to the lost Eppie. And both Godfrey and Nancy Cass proved to be a threat to Silas and Eppie's future relationship.

The production values for "SILAS MARNER" proved to be solid. But if I must be honest, I did not find any of it - the cinematography, production designs and costume designs - particularly memorable. The performances in the movie was another matter. "SILAS MARNER" featured solid performances from the likes of Rosemary Martin, Jim Broadbent (before he became famous), Nick Brimble, Frederick Treves, Donald Eccles, Rosemary Greenwood; and even Elizabeth Hoyle and Melinda White who were both charming as younger versions of Eppie Marner.

Angela Pleasence certainly gave a memorable performance as Eppie's drug addicted mother, Molly Farren. Patsy Kensit not only gave a charming performance as the adolescent Eppie, I thought she was excellent in one particular scene in which Eppie emotionally found herself torn between Silas and the Casses. Freddie Jones gave his usual competent performance as the emotional Squire Cass, father of both Godfrey and Dunstan. I was especially impressed by Jonathan Coy's portrayal of the dissolute Dunstan Cass. In fact, I was so impressed that it seemed a pity that his character was only seen in the movie's first half.

I initially found the portrayal of Nancy Lammeter Cass rather limited, thanks to Eliot's novel and Foster's screenplay. Fortunately, Nancy became more of a central character in the film's second half and Jenny Agutter did a skillful job in conveying Nancy's growing despair of her inability to have children and her desperation to adopt Eppie. I thought Patrick Ryecart gave one of the two best performances in "SILAS MARNER". He did an excellent job of conveying Godfrey Cass' moral ambiguity - his secrecy over his marriage to Molly Farren, the passive-aggressive manner in which he "took care" of Eppie through Silas and his willingness to use Eppie as a substitute for his and Nancy's failure to have children. Ryecart made it clear that Godfrey was basically a decent man . . . decent, but flawed. The other best performance in "SILAS MARNER" came from leading man Ben Kingsley, who portrayed the title character. Kingsley did a superb job of conveying Silas' emotional journey. And it was quite a journey - from the self-satisfied weaver who found himself shunned from one community, to the embittered man who stayed away from his new neighbors, to a man experiencing the joys and fears of fatherhood for the first time, and finally the loving man who had finally learned to re-connect with others.

Overall, "SILAS MARNER" is more than a solid adaptation of George Eliot's novel. I did not find its production designs particularly overwhelming. I did enjoy Eliot's narrative, along with Giles Foster's adaptation rather enjoyable . . . if not perfect. But I cannot deny that what really made this movie work for me were the first-rate performances from a cast led by the always talented Ben Kingsley. Victorian melodrama or not, I can honestly say that I have yet to grow weary of "SILAS MARNER".

[kwebtv]

Silas Marner: The Weaver of Raveloe - BBC / A&E - December 30, 1985

Drama

Running Time: 92 minutes

Stars:

Ben Kingsley as Silas Marner

Jenny Agutter as Nancy Lammeter

Patrick Ryecart as Godfrey Cass

Rosemary Martin as Dolly Winthrop

Jonathan Coy as Dunstan Cass

Angela Pleasence as Molly

Freddie Jones as Squire Cass

Patsy Kensit as Eppie

Elizabeth Hoyle as Baby Eppie

Melinda Whiting as Little Eppie

Robert Putt as Ben Winthrop

Jim Broadbent as Jem Rodney

Tony Caunter as Mr. Snell

Michael Bilton as Mr. Macey

Nick Brimble as Bob Dowlas

Frederick Treves as Mr. Lammeter

[thatscarletflycatcher]

Top 10 favourite portrayals in Austen adaptations?

Hi!

10. Peter Gale as John Dashwood in Sense and Sensibility 1981

John Dashwood is most often portrayed as a weak, stupid fool designed to get on everyone's nerves, which tends to shift all the blame that belongs to his character upon Fanny. It is not so with this version of the character. It is obvious that he is rather stupid, but he's also greedy, selfish and callous himself, and an all around superficial person you can laugh at and be infuriated by.

9. Joseph Mawle as captain Harville in Persuasion 2007

Another example of a minor character done well, specially meritorious in this case because this adaptation is a tv movie. It is usually a problem that Wentworth's friends come across as a bit of a blur, but in this case, between writing and acting, Harville comes across as intelligent, loyal, amiable, etc, an all around gentleman whose friendship does credit to Wentworth's character.

8. Guy Henry as John Knightley in Emma (ITV) 1996

And another one! There's several "minor character in movie adaptation" in this list, because it is really hard to make a minor character feel "alive" or nuanced when said character is given very little screen time. Guy Henry steals the scene every time he appears in this adaptation. His delivery of the famous Christmas speech is impeccable. He also comes across as a loving father and husband too.

7. Angela Pleasence as Lady Bertram in Mansfield Park 1983

Jemma Redgrave (Lady Bertram in Mansfield Park 2007) is, in my opinion, a mesmerizing actress, one of those beings that are both beautiful and have a very strong scenic presence. I love her version of Lady Bertram, but Angela Pleasence is something else in the role, and somehow specially because her vibe is the strong opposite of JR. Always sweet, delicate, and soft spoken in her roles, her Lady Bertram is hysterical; I don't think there's a scene where she gets a speaking line where I don't laugh, and laughter is so very welcome in a story that can be as heavy and as painful as Mansfield Park. She provides a characterization that fits Austen's (pliable, lazy, dim, perpetually distracted) without making her insufferable.

6. Kate Beckinsale as Emma Woodhouse in Emma (ITV) 1996

Kate Beckinsale has always had queen bee energy, but her youth in this movie softens it enough that we can see how Emma is ultimately a young woman who means well, and means to be just. I don't read Emma as having the finishing school affectations of a Caroline Bingley (something that in my opinion happens in 2020 and to some degree in the Miramax movie); she was raised at home by an indulgent governess and rarely if ever meets other ladies of her rank. But I also do see where people are coming from when they criticize 2009 Emma for being too modern and her way of carrying herself as one that would have been considered vulgar in the regency era, and I think this Emma strikes a happy compromise. Emma has good manners and a sense of rank, but she's also decidedly provincial.

5. Hayley Atwell as Mary Crawford in Mansfield Park 2007

Love, hate or be baffled by this adaptation of Mansfield Park, most people seem to agree that this casting choice was great, and there's reason to it. Atwell is a very talented actress, and despite the script not helping, she brings out both the best and the worst of Mary out, avoiding both the femme fatale and the pure victim we don't talk about the expose my ankle scene

4. Olivia Williams as Jane Fairfax in Emma (ITV) 1996

I feel like Jane Fairfax also suffers from a problem similar to Emma in adaptations. She's made to have these very suspicious vibes and heavy-looking aspect (against the trendy more Heroin Chic look of Palthrow) in the Miramax movie, she's a mousy creature in 2009, and a sort of severe schoolmistress in disguise in 2020 (I'm exaggerating for effect, but for a character that is traced with few, delicate strokes in the novel, she surely gets a lot of rather sharp depictions). Olivia Williams gives a Jane that is very accomplished, but also elegant, understated and reserved. She's someone we can look at with Emma and see as a glaring spotlight on our shortcomings rather than an interloping rival.

3. JJ Feild as Henry Tilney in Northanger Abbey 2007

I feel a bit silly, because rivers of electronic ink have been poured over this beloved interpretation of one of the favorite Austen heroes, so what can I say about this one that hasn't been said before? Most of the choices in this list are unusual, and while I picked them because I think they are spotlight worthy and truly are favorites at the moment, I won't deny there is an element of... isn't it boring to repeat to each other ad nauseam what has been said over and over and over again and almost everyone is already familiar with? So I'll let you all fill in the blanks here.

2. Robert Swann as Colonel Brandon in Sense and Sensibility 1981

This one is very high on the list because Sense and Sensibility is very dear to me, faultless despite all its faults, I obsess over it, and colonel Brandon is a very dear favorite of mine. So I am very picky about it all, and have grown dissatisfied with the 95 adaptation (I was never particularly keen on 2008) despite acknowledging its many merits as a movie and a period piece. One of the most interesting things about this novel to me, is the treatment of strength and power in its male characters -it's not a central theme, but it is certainly there. John Dashwood and John Willoughby are men who have power, and the power society and money give them, they use to vulnerate the women under their care or influence; and they are morally speaking, extremely weak men. By contrast, both Brandon and Edward are men rendered more or less "powerless" in the circumstances presented in the novel, in appearance "emasculated"; they are soft, unimposing, they don't demand attention or space, but underneath all that lays great moral strength, and it's said moral strength to do what is right and helpful that makes them dependable and even admirable.

That's why it is very important to me for Brandon to keep these traits -that softness, melancholy, humility, unobtrusiveness- besides his moments of high dramatic emotion that showcase his affinity to Marianne, and Robert Swann is the closest to this that we have ever gotten (I cannot call it perfect, but it is so very close), where other adaptations, to different degrees, try to "butch up" his character.

Elizabeth Garvie as Elizabeth Bennet in Pride and Prejudice 1980

We have had our good Lizzys and our bad Lizzys and it gets on my nerves every time someone says "[actor] is [character]!" even and maybe specially when I say so myself, but, boy, has it happened very few times in my life that I have seen a performance and been struck by its likeness to the experience of reading the source material, and this is one of those. She's witty and she's lively but she's also young and vulnerable at times. She makes mistakes, she rationalizes, she reflects and changes and grows. She is what Caroline Bingley would call small and brown and not a beauty, but we see with Darcy the charm of her expressive eyes. I'd say if there wasn't any other reason to watch Pride and Prejudice 1980, Elizabeth Garvie's Lizzy would be reason enough and some.

Some honorable mentions:

Felicity Jones as Catherine Morland in Northanger Abbey 2007 and Hattie Morahan as Elinor Dashwood in Sense and Sensibility 2008

I struggled a lot back and forth with the first. It is a really, really good portrayal of Cathy's ingenuity and honesty and JJ Feild's Henry wouldn't have been as good without her to play off of, but I also sincerely couldn't find a spot in between the others for her anywhere either at the top or the bottom of the list. So she remains in limbo without fault of her own, and I apologize to her for this failure.

Now, the second... there's this story Emma Thompson tells in her diary of the making of the 1995 Sense and Sensibility where she talks about sitting on at casting auditions for Elinor, and, unlike other roles, there being many candidates who gave great auditions, and her commenting "this is a country of Elinors". EDIT: it's been called to my attention in replies that it was Ang Lee calling Britain a country of Fannys, as it was Fanny's casting process. I do feel the dictum also applies to Elinors, on othe opposite end of the spectrum. That's probably the main thing keeping Hattie Morahan off the list. She's my favorite Elinor, but I don't think we ever had anything closely resembling a bad Elinor. 81 wasn't directed well, and Emma Thompson was indeed too old for the part, but characterization wise, they were good. Joanna David was really good in 71. And I felt on making this list that the "standing out significantly" was a key aspect. but she was, indeed, a really great Elinor.

Dan Jeanotte as Edward Ferrars in Sense and Sensibility 2024/Bosco Hogan as Edward Ferrars in Sense and Sensibility 1981

These interpretations of Edward are dear to me, and linked by being sort of opposites that complement book!Edward. Bosco Hogan is an unfiltered portrayal of Edward's diffidence, depression, and lack of personal charm even if his manners are polite. Jeanotte's captures an undercurrent of sass and glimpses of the character's deeper feelings and active negative emotions. Each on its own is incomplete, and yet show something essential to the character that is dissimulated or erased in 95 and 08; I wish I could mush them together somehow and have an Edward portrayal I could wholeheartedly love (From Prada to Nada's Edward gets relatively close, but then that is a rather loose adaptation).

Ask me my top5/top10 anything!

[movierx]

Symptoms (1974)

[cometomecosette]

Since @faintingheroine inspired me to look at the hair colors of the various French and Anglophone screen adaptations' Cosettes, I decided to look at the different Fantines too.

(Again, French or English-language only, so I'm not counting Shoujo Cosette or any other country's adaptations.)

It's interesting to look at them in chronological order. With one dark brunette exception (Sylvia Sidney), all the screen Fantines from the '20s through the '70s have either blonde or light golden brown hair. But in the '80s, a shift somehow took place, and from then on to the present day, all filmmakers seem to have decided that the character must be a dark brunette onscreen, despite her blondness in the book.

Sandra Milovanoff in the 1925 French silent film: it's hard to tell in black and white, but she looks blondish.

Florelle in the 1934 French film: blonde.

Florence Eldridge in the 1935 American film: again, blondish-looking.

Sylvia Sidney, 1952 American film: brunette.

Daniéle Delorme in the 1958 French film: light brown.

Michele Dotrice, 1967 British miniseries: blonde (like her younger sister Karen Dotrice who played Jane in Mary Poppins).

Anne-Marie Coffinet, 1972 French miniseries: this is the only image I could find and it's not the best, but she looks blonde.

Angela Pleasence, 1978 British TV film: light brown (though she has been blonde in other roles).

But then...

Évelyne Bouix, 1982 French film: brunette.

Uma Thurman, 1998 American film: brunette.

Charlotte Gainsbourg, 2000 French miniseries: brunette.

Anne Hathaway, 2012 musical film: brunette.

Lily Collins, 2018 British miniseries: brunette.

Oh well. At least in the stage musical, the tradition of blonde Fantines has always gone strong.

@elden-opera