Dunk, Jim

The Winslow Boy

Many thought The Winslow Boy was an odd choice of material for David Mamet. It was originally a Terence Rattigan play from 1946, taken from a true incident in England in 1908 about a boy, 13, discharged from Royal Naval College for allegedly stealing and cashing a five-shilling postal order. The boy's father, Arthur Winslow (Nigel Hawthorne), mounts a lengthy and expensive legal campaign to clear his boy's and by extension his own name, with the rallying cry, "Let right be done!" The resultant notoriety, the dwindling fortune of the Winslows, as well as the punishment this pressure exacts on them, form the surface action of the story. Yet underneath the staid manners of the dialogue there roils a whole emotional life hardly hinted at in the actors' faces. The famous lawyer engaged to defend the boy, Sir Robert Morton (Jeremy Northam), makes a suitable sparring partner for the Winslows' daughter, Catherine (Rebecca Pidgeon), a suffragette whose suitors are scared off by the family's legal battle. The unspoken romance between these two is more the point than whether right is done or not. Pidgeon brings the same inscrutable countenance that complicated her role in Mamet's previous film, The Spanish Prisoner, to this film--but here everybody seems to have it. As the differences between appearance and actuality reconcile themselves, Mamet builds bridges to his other works, House of Games and The Spanish Prisoner, for instance, for the ways in which dialogue is a cover for someone's true nature. The Winslow Boy is masterful in its quiet treatment of human mysteries. --Jim Gay

Made in Britain

Written by David Leland and directed by Alan Clarke, Made in Britain is a slice of horrible but not inaccurate life from 1982. It holds a terrific early performance from Tim Roth as a skinhead with a swastika caste-mark tattoo, who constantly bares shark-like teeth as he spits embittered, articulate defiance at caring social workers and truncheon-wielding policemen alike. Sixteen-year-old Trevor (Roth) is remanded to an assessment center before sentencing, but remains determined to disobey the rules imposed on him by any authority figures and spends the whole 73-minute play challenging the system to smack him back down, by vandalizing the Job Centre, using his case-file as a toilet, stealing cars, victimizing members of the "immigrant community" and shouting bile at people. The cycle that will lead him to an adult life in prison is explained to him with blackboard diagrams, but he believes he's better off keeping his hatred burning than toeing the line to end up as a no-hoper in a society that prizes obedience over conscience. It was originally televised as one of four Leland-filmed dramas about different aspects of the British education system, which made it seem less monomaniacal in its focus on an extreme case. There's no denying that it's an honest portrait of a monster calculated to terrify even the most concerned liberals which still manages to celebrate his self-destructive defiance. A film for television rather than a TV play, it has very strong language but the violence is all in Roth's face. --Kim Newman

Academy Award(r) nominee Tim Roth (RESERVOIR DOGS PULP FICTION) made his unforgettable film debut as Trevor a ferocious teenage skinhead whose random acts of racism vandalism and violence send him on a snarling spiral through England's justice system. This is the unsparing portrait of youth fueled by rage and hate prowling an empire ruled by repression and despair. It remains a shattering cinematic experience that could only be MADE IN BRITAIN.This uncompromising classic directed by Alan Clarke (SCUM) from a searing screenplay by David Leland (MONA LISA WISH YOU WERE HERE) features gritty cinematography by two-time Oscar(r) winner Chris Menges (THE MISSION THE KILLING FIELDS) with music by anarchist icons The Exploited.DVD Features: Available Subtitles: English Available Audio Tracks: English (Dolby Digital 2.0 Mono) Audio Commentary #1 with Star Tim Roth Audio Commentary #2 with Writer David Leland and Producer Margaret Matheson Archive Interview with Star Tim Roth Poster & Still GallerySystem Requirements:Running Time 76 Mins.Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 827058104494 Manufacturer No: BU1044

The Jury

Is Duvinder guilty? Or is he innocent? Share the tension and the excitement as the jury decides.

John Maher (Billy Scott) lay dead in the grass, the victim of 28 well-placed stab wounds. A stolen sword coated in blood lands near the 15-year-old schoolboy's body. It's clearly a case of unrestrained vengeance. John's Sikh schoolmate, Duvinder Singh (Sonnell Dadral), hated him. Hated him enough to commit murder. A horrendous, premeditated murder in cold blood. Or so we're told.

We're also told this gentle, intelligent boy is incapable of killing. He's innocent. Chilling suspense fills "The Jury" as the highly publicized trial pits Sikh and Anglo communities against each other. Logic against intuition. Pride against shame. The jurors must decide what side they're on - both inside the courtroom, and outside.

Award-winning actor Sir Derek Jacobi (Gosford Park; Gladiator; I, Claudius) stars as George Cording QC (queen's council). As Duvinder's lawyer, he must convince the jury of the young boy's innocence in the face of compelling evidence that suggests otherwise. Cording knows his only hope is to confront the evidence head on and expose a scathing case of prejudice. His powers of persuasion have never been sharper.

Gerald Lewis QC (esteemed actor Sir Antony Sher, Shakespeare in Love, Alive & Kicking, Superman II) can be arrogant-he's entitled. After all, his witness saw blood on the accused's shirt. His witness saw an agitated Duvinder running away. His witness found the body. An impassioned relating of the events will certainly bring the guilty verdict Lewis demands.

Wilderness

Sabotage!

Spain released, PAL/Region 2 DVD: it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada. Languages: o English (subtitles) o Spanish (subtitles) o English (Dolby Digital 5.1) o Spanish (Dolby Digital 5.1) Synopsis: French history gets turned upside down in this lavishly mounted comedy with an international cast. As Napoleon (David Suchet) prepares for the Battle of Waterloo, he's nearly killed by an assassin. The attempted murder is foiled by Corporal Armani (Dominique Pinon), and a grateful Napoleon promotes the soldier to Field Marshal, not realizing that the rescue was a happy accident rather than an act of heroism, or that Armani's ineptitude will cost him dearly later on. Meanwhile, Napoleon is looking for inside information on the Duke of Wellington (Stephen Fry); accordingly, he is happy to make the acquaintance of Lady Edwina (Alexandra Vandernoot), who claims to be a French spy with some major dirt on the British command. Napoleon is smitten with the comely intelligence agent and soon they're enjoying a fling, but what he doesn't know is that she's actually working with the British to uncover information on the diminutive French ruler. When Edwina beats a hasty retreat, Napoleon thinks foul play is afoot, and he decides to follow her, disguising himself as a peasant woman to avoid suspicion. Though set in France and directed by Spanish filmmakers, Sabotage! was shot in English with an eye toward the American market. Special Features: o Film Credits o Filmographies o Interactive Menu o Making Of o Photo Gallery o Scene Access o Trailer(s)

Simon Magus

She's Out

The Winslow Boy [Region 2]

Many thought The Winslow Boy was an odd choice of material for David Mamet. It was originally a Terence Rattigan play from 1946, taken from a true incident in England in 1908 about a boy, 13, discharged from Royal Naval College for allegedly stealing and cashing a five-shilling postal order. The boy's father, Arthur Winslow (Nigel Hawthorne), mounts a lengthy and expensive legal campaign to clear his boy's and by extension his own name, with the rallying cry, "Let right be done!" The resultant notoriety, the dwindling fortune of the Winslows, as well as the punishment this pressure exacts on them, form the surface action of the story. Yet underneath the staid manners of the dialogue there roils a whole emotional life hardly hinted at in the actors' faces. The famous lawyer engaged to defend the boy, Sir Robert Morton (Jeremy Northam), makes a suitable sparring partner for the Winslows' daughter, Catherine (Rebecca Pidgeon), a suffragette whose suitors are scared off by the family's legal battle. The unspoken romance between these two is more the point than whether right is done or not. Pidgeon brings the same inscrutable countenance that complicated her role in Mamet's previous film, The Spanish Prisoner, to this film--but here everybody seems to have it. As the differences between appearance and actuality reconcile themselves, Mamet builds bridges to his other works, House of Games and The Spanish Prisoner, for instance, for the ways in which dialogue is a cover for someone's true nature. The Winslow Boy is masterful in its quiet treatment of human mysteries. --Jim Gay

The Winslow Boy [Region 2]

Many thought The Winslow Boy was an odd choice of material for David Mamet. It was originally a Terence Rattigan play from 1946, taken from a true incident in England in 1908 about a boy, 13, discharged from Royal Naval College for allegedly stealing and cashing a five-shilling postal order. The boy's father, Arthur Winslow (Nigel Hawthorne), mounts a lengthy and expensive legal campaign to clear his boy's and by extension his own name, with the rallying cry, "Let right be done!" The resultant notoriety, the dwindling fortune of the Winslows, as well as the punishment this pressure exacts on them, form the surface action of the story. Yet underneath the staid manners of the dialogue there roils a whole emotional life hardly hinted at in the actors' faces. The famous lawyer engaged to defend the boy, Sir Robert Morton (Jeremy Northam), makes a suitable sparring partner for the Winslows' daughter, Catherine (Rebecca Pidgeon), a suffragette whose suitors are scared off by the family's legal battle. The unspoken romance between these two is more the point than whether right is done or not. Pidgeon brings the same inscrutable countenance that complicated her role in Mamet's previous film, The Spanish Prisoner, to this film--but here everybody seems to have it. As the differences between appearance and actuality reconcile themselves, Mamet builds bridges to his other works, House of Games and The Spanish Prisoner, for instance, for the ways in which dialogue is a cover for someone's true nature. The Winslow Boy is masterful in its quiet treatment of human mysteries. --Jim Gay

Made in Britain [Region 2]

Written by David Leland and directed by Alan Clarke, Made in Britain is a slice of horrible but not inaccurate life from 1982. It holds a terrific early performance from Tim Roth as a skinhead with a swastika caste-mark tattoo, who constantly bares shark-like teeth as he spits embittered, articulate defiance at caring social workers and truncheon-wielding policemen alike. Sixteen-year-old Trevor (Roth) is remanded to an assessment center before sentencing, but remains determined to disobey the rules imposed on him by any authority figures and spends the whole 73-minute play challenging the system to smack him back down, by vandalizing the Job Centre, using his case-file as a toilet, stealing cars, victimizing members of the "immigrant community" and shouting bile at people. The cycle that will lead him to an adult life in prison is explained to him with blackboard diagrams, but he believes he's better off keeping his hatred burning than toeing the line to end up as a no-hoper in a society that prizes obedience over conscience. It was originally televised as one of four Leland-filmed dramas about different aspects of the British education system, which made it seem less monomaniacal in its focus on an extreme case. There's no denying that it's an honest portrait of a monster calculated to terrify even the most concerned liberals which still manages to celebrate his self-destructive defiance. A film for television rather than a TV play, it has very strong language but the violence is all in Roth's face. --Kim Newman