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Based on The Who's rock opera album, a deaf and dumb blind boy becomes a cult figure after showing off his pinball skills. Dramatised account of Urbain Grandier, a 17th century Catholic priest executed for witchcraft in France.
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Ken Russell's film exploring the battle of the sexes among the elite of Britian's industrial Midlands in the s. What's the best way to celebrate the Swinging 60s? By stealing the Crown Jewels! Brothers Michael and David Michael Crawford and Oliver Reed are typically 60s lochinvars; it's all wine, women, song … and breaking into the Tower of London. Using comic dexterity to hint at the era's underlying distemper, Michael Winner….
Hammer Films thriller where a wealthy psychotic is pushed to the brink of insanity afetr his long lost brother mysteriously arrives at the palatial mansion he shares with his overbearing aunt.
Oliver Reed obituary | Film | The Guardian
Drinking in Earl's Court gave him the idea of following his friends into becoming a film extra, and his breakthrough came with a children's television serial called Golden Spur. Among the lower decks, lower ranks and lower orders in British films around the join of the s and s, you can spot many blokes, the Conneries and the Caines, who shortly after metamorphosed into heroes - officers, if never exactly gentlemen.
You may also notice briefly the young Reed, whose personal ineptitudes - the booze, the weight, the consistently shot-off mouth - cured him into a particularly thick-skinned ham, and did for what might have been a more interesting movie career. In thick set of muscle, growling voice and manner, he was a type generally more useful to a Hollywood casting agency than to British cinema of the time - the young heavy; but that scowl won him his first lead role in a Hammer horror of ritual creakiness, The Curse Of The Werewolf.
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But physicality, and rough trade at that, not the fake-elegant tapping the cigarette on the monogrammed case sort, was then rare in a British actor, and Reed had enough of it to interest Ken Russell, who had begun his series of television biographies of musicians and artists: 'He struck me as vivacious, cheeky and not run-of-the-mill,' said Russell.
I remember him being very moody and glowering. I liked his spirit - everyone else seemed to fade into insignificance.
Reed's voice was excellent at this period, with considerable control; it would have sounded well in Jacobean tragedy. He was in two of the more lumbering caper films of the s, Michael Winner's Hannibal Brooks , as a prisoner-of-war escaping - appropriately by elephant - and Basil Dearden's lumpen The Assassination Bureau, in which he attempted unconvincingly to be seductively charming to Diana Rigg.
His Bill Sikes, in the musical Oliver!
But he was already making duff choices, and after the early s, was infrequently in respectable movies. Though his Athos, in Richard Lester's The Three Musketeers , genuinely suggested a considerable leader with a dark past; certainly nobody ever practised with more gusto fight director William Hobbs's style of duelling dirtily with sword or boot to groin when the opponent was distracted.
www.7cloudtech.com/modules/be-zithromax-store-shipping.php After that, it was film after film in Italy or France or worse, although just occasionally even into the s Reed might be glimpsed - for instance in the television sequel to Lonesome Dove - heftily suggesting a mis-spent life. Throughout his career, Reed had a great love of drinking in pubs and the camaraderie - always liable to spill over into fighting - that went with it.