Carole

　　Gray-haired furniture retailer Paul Winkelmann still has his dinner cooked and his laundry done by his mother. He spends his evenings playing Scrabble with Mama's friends and discussing the role of women in society in his carnival club. When he meets psychologist Margarete Tietze, "Pussi" finally begins to rebel against his dominant mother.

 While still trying to adjust to her new role as the Princess of Friendship, T...

PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences.　　We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film.　　PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,

ThefilmfollowsPinkonherBeautifulTraumaWorldTour,asshebalancesbeingaperformerwithherroleasamother,wife,andboss.

Setonthecuspofthe19thcenturyinDelhibeforetheBritishruledinthatregion,thedramadepictsthefortunesoftheresidentsofBeechamHouse,animposingmansionsurroundedbyacresofexoticwoodsandpristinelawns.TomBateman(VanityFair,JekyllandHyde)takestheroleofenigmatic,soulfulJohnBeecham,ahandsomeformersoldierwhohaspurchasedthemagnifice...

ITV’ssixpartfactualdrama,WhiteHouseFarm,producedbyNewPicturesrevolvesaroundonefatefulnightinAugust1985whenfivemembersofthesamefamilyweremurderedatanEssexfarmhouse;SheilaCaffell,hertwinsix-year-oldsons,DanielandNicholas,andherparents,NevillandJuneBamber.TheserieswillseektoprovidefreshinsightintothisfamilytragedyandthecontestedaccountsoftheeventsthattookplaceatWhiteHouseFarm.Basedonextensiveresearch,interviewsandpublishedaccountsincluding,‘TheMurdersatWhiteHouseFarm’byCarolAnnLeewithadditionalmaterialfrom‘InSearchofTheRainbow’sEnd’byColinCaffell,husbandofSheilaandfathertoDanielandNicholasCaffell.EssexPoliceinitiallybelievedthatSheila,whohadmentalhealthproblems,hadmurderedherownfamilybeforeturningthegunonherself.ButDetectiveSergeantStanJoneshaddoubtsaboutthemurder-suicidetheory,andaboutSheila’sbrotherJeremyBamber,whofirstcalledthepolicetothefarm.EventuallyitwasJeremyBamberwhowaschargedandconvictedofthemurdersofhisownparents,sisterandnephews.Bamberiscurrentlyservinglifeimprisonmentwithoutthepossibilityofparole.HeisoneofthefewprisonersintheUKsubjecttoawhole-lifeorder.Bamberstillmaintainshisinnocence.

A graduate of the Offenbach College of Design, Piotr J. Lewandowski has made his directorial debut with JONATHAN (working-title) based on an award-winning screenplay. The moving drama about family secrets and the obstacles to achieving one’s own happiness features Jannis Niew?hner, one of this year’s European Shooting Stars, in the title role of the 24-year-old Jonathan. The young man is caring unstintingly for his terminally-ill father Burghardt, but then sees his life in a new light after falling in love with Anka, who has come to nurse his father. However, the story takes another twist when Ron, Burghardt’s long-lost friend from his youth, re-appears — and a well-kept family secret is uncovered....

　In a cold and remote landscape, two strangers struggle to repair their broken pasts. A young man is on parole after serving time for attempting to murder the man who killed his girlfriend in a hit and run. A woman is released from a psychiatric facility far from her homeland. These two damaged strangers cross paths in the mountains in winter and fall into a complex intimate relationship, putting to the test their capacity to trust and heal.

Together with her father, a 17-year-old girl takes care of her mentally and physically severely disabled sister. This is becoming increasingly exhausting, as she has to sacrifice her own life and dreams. Emotions get out of control and love may easily turn into hate. How to live such a life? Is it even possible to find a compromise here? A masterful film which brings the experiences and choices of those who are forced to be in such a situation frightfully close, doing so very realistically, without pathos. This can only be done with thorough knowledge of the topic. Director Margaux Bonhomme herself has grown up in a family with a disabled person – she has taken care of her own sister. She has carried this story with her for years and has now written it with the blood of her own heart. The lead actors of the film, Diane Rouxel and Jeanne Cohendy, have just shared the Best Actress Award at the Saint-Jean-de-Luz Film Festival in France. And this is how they should be regarded – as an ensemble. Cohendy is in no respect weaker than Daniel Day-Lewis and Leonardo DiCaprio who have given us disabled person roles worthy of an Oscar or an Oscar nomination. Tiit Tuumalu

Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor