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Review of ROMAN HOLIDAY (1953) (Blu-ray)

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Grade: A
Romantic comedy
Not rated (would be PG)

Audrey Hepburn’s appeal was that she somehow managed to convey both innocence and sophistication—a girl-next-door who was oddly glamorous at the same time. Two films showcased that exquisite balancing act best: Sabrina (1954) and Roman Holiday (1953). Thanks to Paramount, which recently released the latter on Blu-ray for the first time, a new generation of movie-lovers can appreciate the performance that earned Hepburn her only Best Actress Academy Award.

Hepburn plays royalty in Roman Holiday, but there are other Hollywood “royalty” involved as well. Three-time Best Director Oscar-winner William Wyler (Mrs. Miniver, The Best Years of Our Lives, Ben-Hur) is behind the camera. Dalton Trumbo, the most (in)famous of the McCarthy-era blacklisted Hollywood 10, was responsible for the story and co-wrote the screenplay. Though uncredited, Trumbo won an Oscar for Best Writing, Motion Picture Story, and legendary costume designer Edith Head added another Oscar to her own mantle for her work on Roman Holiday. And while Gregory Peck wouldn’t win his Best Actor Oscar (To Kill a Mockingbird) for another 10 years, he plays off Hepburn memorably in this very different kind of romantic comedy.

If Roman Holiday were described as a high-concept film during an elevator pitch, it could best be summed up as It Happened One Night meets The Prince and the Pauper in Rome.

Hepburn plays Princess Ann, heir to the throne of a fictional European nation who’s wrapping up a tour with a visit to Rome. Absolutely fatigued and on the brink of a nervous breakdown, she yearns to be common, to live an ordinary life, to get away from all the obligations that accompany being a princess. So what does she do? There’s no one to trade places with, but she sneaks out anyway and goes AWOL for 24 hours. The complication: the doctor had just given her a shot to “calm her down,” and it makes her incredibly sleepy and gives her the appearance of being intoxicated.

Like Clark Gable’s newsman in It Happened One Night, Peck plays a journalist who stumbles onto a runaway “royal,” and like Gable’s newsman, once he realizes her identity, he schemes to write and sell an exclusive “personal” story, all the while being careful not to let her out of his sight . . . or to reveal his ulterior motive. Eddie Albert, of TV’s Green Acres fame, plays Joe’s best friend, a photographer named Irving, and together they attempt to document this escaped princess on her carefree one-day Roman holiday.

Though shot in black and white in the traditional Academy aspect ratio of 1.37:1, Roman Holiday still features fascinating footage of Rome, where the picture was filmed. Viewers get to see the Spanish Steps, the Trevi Fountain, The Colosseum, the “Mouth of Truth,” the Tiber River, the Piazza del Pantheon, Piazza Venezia, Piazza di Spagna, the Viale del Policlinico, and the Piazza della Repubblica. But just as satisfying are the shots of an undercover Princess Ann exploring neighborhoods and markets in 1952 Rome.

Were people really as decent and genuine in the early 1950s as we see in films like this? As much as any of the ideas that the Hollywood dream factory has marketed over the decades, we’d like to think so. Films like Roman Holiday remain forever charming and wholesome—a refreshing, much-needed break from the amoral and often inscrutable antics that dominate today’s news cycles. I would argue that we need classic Hollywood films now as much as we ever have, and ones like this understated romantic comedy fill that basic need. Despite a brawl at a riverfront open-air club and some reckless scooter driving, Roman Holiday for the most part shows people behaving with decorum, restraint, civility, and good conscience. And without seeming moralistic or unbelievable.

Roman Holiday won’t be for the whole family, though, because it takes a willingness to embrace black-and-white and to put oneself in the place of the princess needing a break from her demanding “job,” or a reporter who finds himself having to choose between professional success and a woman he finds increasingly more endearing. Junior high age and older, I would think, could appreciate this classic but non-standard rom-com.

The 4k transfer to Blu-ray is a good one, though the source obviously had a handful of missing frames so that there are slight jump cuts that don’t seem to have been deliberate. Otherwise, this film hasn’t looked better.

Entire family: No (Junior high and older)
Run time: 118 min. (Black and White)
Studio/Distributor: Paramount
Aspect ratio: 1.37:1
Featured audio: Dolby TrueHD Mono
Bonus features: B+
Includes: Blu-ray, Digital Copy
Trailer
Amazon link
Not rated (would be PG for some adult elements)

Language: 0/10—Nothing here that I caught

Sex: 2/10—Innocent, though other people’s reactions have them thinking otherwise: a woman is seen wrapped in a towel; a woman sleeps in the same apartment as a man; a neighbor watches money change hands and thinks the woman a prostitute, etc.

Violence: 2/10—There’s that brawl at the riverfront, but it’s played for comic effect

Adult situations: 4/10—A woman says she’s smoking for the first time, a woman drinks champagne during the day, and there’s wine drinking but no drunkenness

Takeaway: Roman Holiday may not have won Wyler a fourth Oscar (Fred Zinnemann won that year for the sweeping epic From Here to Eternity), but it’s as good as anything he directed

 

Review of MR. TOPAZE (Blu-ray)

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Grade: B/B-
Comedy
Not rated (would be PG)

The British Film Institute called Mr. Topaze “essential viewing for all Sellers fans,” and I agree. For one thing, I Like Money, as this 1961 film was later retitled, was the first theatrical feature directed by comedian Peter Sellers . . . and also his last, because he was so stung by its failure and critics’ barbs.

It’s of interest for that fact alone, but more importantly, Mr. Topaze gives viewers an interesting glimpse into an evolving dynamic between Sellers and actor Herbert Lom that began with The Ladykillers (1955) and continued with this film, The Pink Panther (1963), and four more Inspector Clouseau comedies: A Shot in the Dark (1964), The Return of the Pink Panther (1975), The Pink Panther Strikes Again (1976), and Revenge of the Pink Panther (1978). Fans of those detective comedies especially will enjoy seeing Sellers and Lom play off of each other in Mr. Topaze as a kind of warm-up for their later rivalry as Clouseau and Chief Inspector Charles Dreyfus.

Like Clouseau, Mr. Topaze is French, earnest, a little naïve and awkward, easily manipulated, slightly clumsy, seemingly feckless, and totally meek compared to most of the males he encounters. Topaze, whose prize possession seems to be a stuffed skunk he keeps on his desk, doesn’t have a commanding presence or one that inspires respect—not even among his students, who prank him without fear of repercussions. But he’s a genuinely nice guy with scruples, a dedicated teacher who loves his profession and hangs inspirational mottos all over his classroom—including one that cautions how money is a test of friendship. “I see you take my kindness for weakness,” he tells one of the pranksters. “I may look like a complete fool,” he says, “but I am not, I assure you.”

That’s debatable, of course. He leads the kind of quietly dull life that prompted James Thurber’s Walter Mitty to escape into fantasy. In love with the daughter of his school’s headmaster (Michael Gough), Topaze makes little headway, partly because of his personality and partly because of hers. As Ernestine (Billie Whitelaw, who looks a bit like Janet Leigh) tells her father after he learns that she got Topaze to grade a huge stack of her papers for her, “If I can find a man who’s fool enough to do my homework for me,” what’s the harm? More

Review of THE DANCING DOGS OF DOMBROVA (DVD)

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Grade: B
Comedy-Drama
Not rated (would be PG-13)

It’s not uncommon to take a chance on a CD or movie based on the title. But don’t be misled by this one. The “dancing dogs” in The Dancing Dogs of Dombrova is singular—a memory embedded in the mind of an old Jewish woman we never see onscreen, except for a brief cellphone video. Dombrova itself, as depicted in the film, is a desolate wintry place populated with characters and scenes that the Coen brothers might have concocted, had they decided to make an indie film abroad. The Coens specialize in films for mature audiences, and The Dancing Dogs of Dombrova, from director Zack Bernbaum, follows that same road, but with far less violence or language. His third and most accomplished full-length feature would probably merit a PG-13 rating instead of an R.

There’s a little bit of a Fargo feel to this Canadian film in English and Polish, with English subtitles. Shot in Romania, it follows an estranged adult brother and sister who have traveled from Canada to Poland in order to fulfill their dying grandmother’s wish: that they should find the house in Dombrova where she lived before she was herded off to the concentration camps and dig up the bones of the beloved dog she left behind. The dog could dance, she tells them.

We first meet recovering alcoholic Sarah Cotler (Katherine Fogler, from TV’s Suits, Murdoch Mysteries) and her prissy, superior brother Aaron (Douglas Nyback, Kit Kittredge: An American Girl, TV’s Hell on Wheels) when they land at an isolated train station late at night. Told that there are no taxis, they wait on the platform until less cautious Sarah walks toward a car in the shadows that has a driver sitting in it. And so the adventure begins: with a sullen, peasant-stock female driver who understands English but never speaks and drives a car with a leaky gas tank that has to be constantly refilled.

That’s the level of quirkiness viewers encounter on this understated, dark-comedy road-trip, where you’ll meet:

—Two local “mafia” types that sit in lawn chairs in the snow outside a food truck in the middle of nowhere

—The proprietor of the only B&B in town, who’s subbing for parents that just up and left

—The young son of the taxi driver, who keeps taking notes because he’s an aspiring “human detective”

—A rabbi whose synagogue seems as empty as the rest of Dombrova

—A clerk at the local town hall for whom it takes three months to find a local street address

—Revelers at a local wedding reception held in next to the parking lot of a convenience store

—A peasant farmer with a scythe who curses and shoots her German Luger at trespassers

—A priest who also has something to confess

Quirky characters make an indie film fun to watch, and when the sequence of events and tone smack of the original theatrical Fargo, but without the extreme violence and language, it becomes even more appealing for families wanting to push their own cinematic boundaries—even if the underlying premise of estranged family members finding each other again is one we’ve seen before.

The Dancing Dogs of Dombrova won Best Feature at the 2019 Canadian Film Fest and the Canadian Filmmakers’ Festival, and Fogler was voted Best Actress at the Albuquerque Film & Music Experience. But really, people, it should be The Dancing DOG of Dombrova.

Entire family: No (junior high and older)
Run time: 102 minutes (Color)
Studio/Distributor: Omnibus / Film Movement
Aspect ratio: 2.35:1 widescreen
Featured audio: 5.1 Surround Sound (English, with some Polish)
Bonus features: n/a
Trailer
Amazon link
Not rated (would be PG-13 for language and adult situations)

Language: 4/10—There’s one f-bomb and fewer than a dozen lesser swearwords

Sex: 3/10—Nothing is shown, but an unmarried woman talks about having “buns in the stove” and there’s an argument over her “bastard child”

Violence: 2/10—A gun is fired and someone is shot

Adult situations: 4/6—The wintry landscape is bleak and vodka is the social drink of choice, offered often, and there is some smoking 

Takeaway: Quirkiness is a tightrope, but director Bernbaum manages to walk it nicely from beginning to end, with pacing that’s indie leisurely but not indie dragging

Review of CRESCENDO (2019) (Blu-ray)

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Grade: B
Drama
Not rated (would be PG-13)

When this 2019 German film debuted at the Munich International Film Festival, the audience gave it a standing ovation. I’m not surprised. The film tells the story of a world-renowned German conductor who travels to Tel Aviv to assemble a youth orchestra composed of both Israelis and Palestinians. It’s a gestural stunt sponsored by a group whose next project involves a cause in Africa. But while the main message of Crescendo involves Israeli-Palestinian accord, a subtext is that all people ought to get along—including Jews and Germans, the latter whom, conductor Eduard Sporck suggests, should be forgiven for the sins of their Nazi parents and grandparents.

Peter Simonischek (Toni Erdmann) is warm and engaging as the fictional maestro who must work not only with the typical egos and attitudes of the artistically gifted, but also with two groups that hate each other and have stories in their families that reinforce and justify that cultural hatred. So while we see Sporck audition and rehearse his young musicians, a large portion of film time is devoted to his finding ways to broker peace, to break through the barriers with musicians at a retreat in Italy, neutral ground, rather than Tel Aviv, as originally planned.

Crescendo is multi-language, with spoken English and German and English subtitles. By American standards, it would be slapped with an R rating because an f-bomb is tossed near the beginning and again at the end. Only one is usually permitted for a film to slip into a PG-13 rating. But those two words, which come at emotional high points and are used for emphasis, are joined by only one other noticeable swearword in a film that’s otherwise PG.

If there are teens in your family who got hooked on the Australian TV-series Dance Academy, the few personal dramas that we get in Crescendo will seem familiar. There’s a romantic side plot featuring a Israeli French horn player named Shira (Eyan Pinkovitch) who quickly falls for a quiet and sensitive West Bank clarinetist named Omar (Mehdi Meskar), and there’s a competition side plot between the best Israeli violinist (Daniel Donskoy as Ron) and the best violinist from across the border (Sabrina Amali as Layla). The Palestinians’ families also appear, but for the most part Crescendo builds to its musical and thematic climaxes through Sporck’s efforts to bring them all together to work in both musical and metaphorical harmony. More

Review of SERGEANT YORK (1941) (Blu-ray)

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Grade: B+
Biopic
Not rated (would be PG)

Hollywood legend Gary Cooper won two Best Actor Oscars: one for his performance in High Noon (1953) as a marshal facing a showdown on the day of his marriage to a Quaker pacifist, and the other for his portrayal of a real-life conscientious objector who became an American war hero in Sergeant York. And Cooper plays York with the same kind of aw-shucks naiveté as he gives Lou Gehrig in The Pride of the Yankees, a film he would make the following year.

Based on Alvin C. York’s personal diary, this 1941 black-and-white biopic was made to inspire a nation near the start of America’s involvement in WWII. But it also helped to fund an interdenominational Bible school—the main reason a reluctant York finally agreed to let Hollywood dramatize his life story and WWI heroism for the big screen.

Typical of biopics from the period, Sergeant York is wholesome, folksy, sentimental, and moralistic. But with director Howard Hawks (Red River, Rio Bravo) behind the cameras, it’s also an example of compelling narrative storytelling.

Mostly set in an impoverished backwoods corner of rural Tennessee, Sergeant York spends four-fifths of its 134-minute run time showing how York, a hard-working mama’s boy, went from being a frequent hell-raising drinker to a born-again Christian opposed to killing. Like Daniel Boone, who recorded one of his exploits on a tree near the York homestead, York is a crack shot and crafty outdoorsman, and early in the film he disrupts a church service by shooting his initials into a tree.

A young but still raspy-voiced Walter Brennan plays the pastor, while Joan Leslie (Yankee Doodle Dandy) is the love interest and British actress Margaret Wycherly plays the taciturn mother who stands by her boy no matter what he does. When the announcement comes that all young men are expected to go to Europe to fight and Alvin says, “Maw, what are they a’fightin’ for?” She replies, “I don’t rightly know. I don’t rightly know.” But she knows he has to go fight, no matter what his newfound religion tells him. More

Review of THE IPCRESS FILE (Blu-ray)

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Grade: B/B-
Spy drama-thriller
Not rated (would be PG)

The Ipcress File was produced by Harry Saltzman, a name familiar to Bond fans because it was Saltzman and Albert R. Broccoli who gave us Dr. No, Goldfinger, and Thunderball. But don’t approach this one thinking it’s a cousin to the slightly campy and always sexy James Bond adventures. The Ipcress File has more in common with The Manchurian Candidate (1962), because it offers a more realistic view of spies and also prominently features brainwashing—a term credited to Edward Hunter, who in 1950 wrote about mind-control techniques that China used on American prisoners of war.

By “a more realistic view of spies” I mean that there are no exotic locations, no scantily clad women willing to do anything for their country, and no physical conflict, really, until we’re some 30 minutes into the film. Before that there’s a little sleuthing and surveillance and a lot of trying to find one’s place in a new post of assignment.

Based on Len Deighton’s novel, which came out the same year as The Manchurian Candidate, this 1965 film is rated #59 on the BFI list of 100 greatest British films. Instead of the peppy and campy action in the Bond films, Saltzman and director Sidney J. Furie (Iron Eagle, The Appaloosa) chose to play it low-key, concentrating instead of unique shots and camera angles to keep viewers interested.

Harry Palmer (a young Michael Caine) is assigned to investigate a series of kidnappings of leading scientists who turn up eventually with their minds completely erased. Somewhere along the way Palmer finds a clue—the word “Ipcress”—and it leads him through a tangled web of deceit, double agents, and spies keeping tabs on other spies. The latter, in fact, was something that Ian Fleming described as commonplace in the early days of Cold War spying, and it feels authentic here. But as a result of all this truth-in-spying, the pace is considerably slower than a Bond film. Takes and scenes are longer as if to suggest real time. More

Review of I AM A DANCER (1972) (Blu-ray)

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Grade: B-/C+
Dance documentary
Not rated (would be G)

Ballet Dancers Guide lists five “most legendary” dancers in history: Marie Taglioni (1804-84), Anna Pavlova (1881-1931), Vaslav Nijinsky (1890-1950), Rudolf Nureyev (1938-1993), and Margot Fonteyn (1919-91). You can see two of them dance in this newly released Blu-ray of the 1972 Pierre Jourdan film.

Nureyev, who also makes the top four list of “most famous ballet dancers in history,” according to DanceUS.org, is the focus of this documentary, but don’t expect to learn a lot about Nureyev’s life. This isn’t a cradle-to-grave biography, and it doesn’t intercut old photos and film clips with talking heads.

I Am a Dancer, is less biography and more of a montage of Nureyev dancing: in training, in rehearsal, and in performance. And unlike documentaries that are heavily scripted and edited, Jourdan, for the most part, just turns on his camera, relying on viewers to appreciate the long takes as a means of understanding the dedication, hard work, and passion that it takes to become or remain one of the world’s most talented dancers. We do get a few moments when Nureyev appears on camera responding to interview questions—“I live in my suitcase, and my only ground is my work”—and we do get periodic voiceover narrations written by John Percival and voiced by Bryan Forbes, but for the most part any narration is minimal.

In other words, if you’re looking for Nureyev’s story—how a young man born on a Trans-Siberian train ended up as a dancer in the Kirov Ballet, became the first artist to defect from the Soviet Union to the West, found a new home as principal dancer with The Royal Ballet in London, then served as director of the Paris Opera Ballet, and tragically died of AIDS at the age of 54—you’ll have to look elsewhere. The White Crow, a controversial 2019 biopic starring Oleg Ivenko as Nureyev, fills that bill.

I Am a Dancer showcases a great dancer dancing, but I can’t say that this is great filmmaking. In fact, a gimmicky “fly’s-eye” lens that shows multiple images is so over-used that it’s annoying and detracts from the dance, while the Vaseline lens for other shots seems Playboyesque and dated. That the film earned a Golden Globe nomination is somewhat surprising, though it’s possible that at the time it was considered “brave” to let the story mostly tell itself. More

Review of P.J. (1968) (Blu-ray)

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Grade:  B
Crime drama-thriller
Not rated (would be PG)

The pandemic has prompted most major studios to delay theatrical releases and slow down the production of home theater titles. Since Covid has made shut-ins of us all, big studios have released fewer films new to Blu-ray and DVD and more titles that are rereleases in the relatively new ultra-HD 4K format. But not Kino Lorber. They continue to remaster lesser-known older films for Blu-ray that feel like pleasant surprises when you watch them.

P.J. is a good example of that. This all-but-forgotten 1968 private detective film—which has never before been released on VHS, DVD, or Blu-ray in the U.S.—has one foot in the hard-boiled PI genre, and another foot in the groovy sixties that inspired Mike Meyers to poke fun of the decade in his Austin Powers spy spoofs. In fact, there’s a club scene where two female go-go dancers do their go-go thing in a gigantic martini glass, swirling and shimmying around like a couple of human olives, and that scene feels as if it could have been shot for an Austin Powers film. Oh behave!

The music seems straight out of Austin Powers too, so fans of that parody will enjoy seeing where the inspiration came from—not this film precisely, but films like it that were produced during the late ‘60s and early ‘70s. Yet P.J. is also strongly evocative of other neo-noir PI films from the period, like Harper, Klute, Tony Rome, Night Moves, and the Robert Mitchum version of Farewell, My Lovely.

George Peppard (TV’s The A-Team, Breakfast at Tiffany’s) plays a down-but-not-out New York PI who takes a bodyguard job because it’s preferable to getting his legs broken by loan sharks and mob bosses. The Korean War vet is hired to protect the mistress (Gayle Hunnicutt) of the rich and powerful (and shady) William Orbison, played against type by the rotund Raymond Burr (Perry Mason, Ironsides). What P.J. doesn’t know is that the job isn’t just dangerous—somebody has already shot at her—it’s also a set-up. Who wants her dead? Who’s behind it all? Who’s using him as a pawn? And why does Orbison flaunt his affair in front of his wife, even forcing his wife to meet the “other woman”? More

Review of CURSE OF THE UNDEAD (Blu-ray)

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Grade: C+/B-
Western-horror
Not rated (would be PG)

A week ago, if you had asked me to name a Western that bridged genres and included vampires, I would have said, “I know, I know: Billy the Kid vs. Dracula!” That 1966 movie is famous for being so absolutely awful that it’s not even laughably bad—an insipid film that’s only known for the blending of genres that everyone thought unique. But a few days ago I became aware of another vampire Western—Curse of the Undead—and it turns out that this black-and-white 1959 film was really the first vampire Western.

What’s more—and here’s the shocker—it’s not a silly movie that takes itself seriously, thereby setting itself up for an audience that likes campy films, films that are wink-wink so bad that they’re kinda good. You need to know this, so you won’t look at the cover art and think, Oh, we’re going to have so much fun making fun of this rotten film. It’s not rotten and it’s not campy. Writer-director Edward Dein, who would go on to direct Robert Conrad in three TV series (Hawaiian Eye, The Wild Wild West, The Black Sheep Squadron), plays this absolutely straight. It’s a surprisingly good drama that treats vampires a little less like Universal monsters and more like what legend says they were. If it were shorter, it might pass for an episode of The Twilight Zone, and tonally it’s very much like the classic monster movies that Universal cranked out in previous decades.

To make the Western aspect work, it helps that one of the stars is Eric Fleming, who played Gil Favor on the highly respected Rawhide (think Blues Brothers!) TV series and also appeared in several episodes of Bonanza, that other long-running TV Western. In this vampire Western, Fleming plays Preacher Dan. Somebody has to have a cross, right?

One of the other stars is John Hoyt, who appeared in such TV Westerns as The Virginian, The Big Valley, Laredo, Wagon Train, Have Gun – Will Travel, Maverick, Laramie, The Rifleman, Death Valley Days, and Union Pacific. All of those Westerns were popular because they were aimed at adults. They were serious dramas and not just Saturday morning formulaic shoot-‘em-ups.

In this film, even the vampire—Michael Pate—worked in TV Westerns that were played for drama, not laughs, including shows like Zane Grey Theater, Maverick, Wanted: Dead or Alive, Sugarfoot, and Broken Arrow. These guys knew how to play cowboys, and it’s both surprising and refreshing that the vampire in Curse of the Undead doesn’t transform into a bat, doesn’t say “I vant to suck your blood,” and doesn’t behave like he just got in from Transylvania. He looks and acts like the kind of gunslinger you’d encounter in the Old West: dark and menacing as a coiled rattlesnake ready to strike.

There’s always a ranch or town boss in a Western who’s the villain, but when there’s a vampire gunman in town any villain is going to seem soft by comparison—even someone like Bruce Gordon, who played Frank Nitti in the old Untouchables TV series and also appeared with Vincent Price in Tower of London. And there’s always a damsel in distress, a delectable morsel-in-waiting in every vampire movie. Here, the part is played by Kathleen Crowley, who was in her fair share of B movies and Westerns, including The Rebel Set, Target Earth, Female Jungle, and Maverick. More

Review of THE SECRET GARDEN (2020) (Blu-ray combo)

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Grade: B-
Family Drama
Rated PG

There seems to be just one rule for adapting a classic of children’s literature: stay close to the book. It’s a wonder more filmmakers don’t follow that unwritten rule.

The Secret Garden is a case in point. The 1949 release starring Margaret O’Brien earned a 7.5 out of 10 from audiences at the Internet Movie Database, while a 1987 TV version and 1993 big-screen remake were equally popular (7.2 and 7.3, respectively). All three films were faithful to the book. But a 2017 steampunk treatment got the cold shoulder (4.5), and two 2000 faquels (fake sequels)—Back to the Secret Garden and Return to the Secret Garden didn’t fare much better, with scores of 5.7 and 5.3.

Is it any wonder that audiences tagged this 2020 “reimagined” incarnation with a 5.6 rating? The weight of audience expectation was dropped like a piano from a rooftop on an otherwise beautifully filmed version, most likely because it dared to change things a bit.

Frances Hodgson Burnett’s 1911 novel followed a sickly 10-year-old girl who lived in India with wealthy parents that both ignored and spoiled her. Cared for by Indian servants, she awakened one day to find her parents dead of cholera and the staff long gone. Eventually she was sent to England to live with a hunchbacked uncle and his servants in an isolated mansion on the moors. As it happened, Archibald Craven had sealed off a private walled garden after his wife had died there. But Mary grew ever curious about the garden and also the cries she heard in the house at night. Eventually she found the key that unlocked the garden, hung out with the maid’s younger brother, and discovered a cousin she never knew she had, shuttered away in a hidden room because of a spinal illness that had kept him bedridden. He quickly became a diversion for Mary, who took him (secretly) to see the secret garden.

Writer Jack Thorne and BAFTA-winning director Marc Munden decided to mix things up a bit. They made the garden magical. Plants are ginormous, and far more tropical More

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