THE CHARMER Revisited

Nigel Havers

THE CHARMER (6 part mini-series/1987. Director: Alan Gibson.

"Why did you do it -- any of it?" -- Clarice 
"Because I wanted to be like you." -- Ralph
"But my God, I'm bloody awful." -- Clarice

The time is England in the 1930's just before WW 2. Ralph Gorse (Nigel Havers) is a charming, attractive young man who only wants what others have by birthright, and he's willing to resort to rather anti-social methods to achieve his goals. Staying in a friend's house in a small village, he becomes acquainted with the middle-aged Donald Stimpson (Barnard Hepton) and the widow Joan Plumleigh-Bruce (Rosemary Leach). Donald and Joan have an "understanding" which may or may not result in marriage. But when Ralph enters the scene, Joan realizes how conventional and comparatively dull the solid Donald is.

Rosemary Leach and Nigel Havers

Donald is suspicious -- and jealous -- of Ralph right from the start. To Rosemary, Ralph represents romance, passion and excitement, and she all too eagerly becomes his business "partner." After sex, Joan enthuses "I feel alive again!" Therefore when Ralph disappears with her money she is inclined to be gullible and forgiving whereas Donald is strictly out for blood. Ralph winds up selling cars for the father (George Baker of Curse of the Fly) of an old girlfriend, Pamela (Abigail McKern), and is soon trapped in a loveless marriage, a situation that our boy will not let stand for very long. In the final episodes of the series, Ralph impersonates a soldier, romances a lonely war widow (Judy Parfitt), and is still pursued by Donald and an ever-smitten Joan. All the while he carries on a torrid romance with the upper-crust Clarice (Fiona Fullerton), who can't marry him because he has no money of his own.

Loves not wisely but well: Rosemary Leach

The Chamer was based on a novel entitled "Mr. Stimpson and Mr. Gorse" by Patrick Hamilton, also known for Rope, Gaslight, and Hangover Square. This mini-series, which I believe may have been broadcast on Masterpiece Theater, takes some liberties with the source material but is essentially faithful, if memory serves me, to the spirit of the novel. In the book Joan only appears in the early chapters but she is all through the mini-series, which -- considering how likable the character is and how excellent Rosemary Leach's performance -- is all for the better. Bernard Hepton is similarly marvelous as Donald. The series is full of fine character portrayals, as well as exemplary work by Fullerton, McKern, Baker, Parfitt, Gillian Raine as Pamela's mother, and others.

Bernard Hepton

And then there's Nigel Havers, who is simply outstanding. Ralph is not a person one should feel sympathy for, but Havers' emoting draws you into his world and psychology and almost makes you root for him. Havers is a busy British actor who appeared in Chariots of Fire and many other vehicles. Rosemary Leach was a similarly busy character actress, amassing over 130 credits, Bernard Hepton, who also mostly appeared on British television, had nearly as many. Fiona Fullerton was previously a Bond girl in A View to a Kill. The  Chamer beautifully illustrates how con artists give themselves enough rope to hang themselves, and also explores why people can be so forgiving of them -- because for a little while they bring some excitement and romance into their lives -- at least until the boom drops.

Verdict: Superb British mini-series with top-of-he-line performances. ****. 

HAMMER HOUSE OF HORROR

Peter Cushing

HAMMER HOUSE OF HORROR (1980 British television anthology series).

This British anthology series of horror stories lasted for one season and 13 episodes. It is a mixed bag with arguably only one really outstanding episode and a lot of stories with intriguing premises that are ruined by weak scripts and flat wind-ups. Peter Cushing stars in what may be the best episode, "The Silent Scream," in which a former Nazi scientist (Cushing) imprisons an ex-con and his wife in a cage along with several animals. There are some interesting twists and turns to the plot, although the ending is a little implausible. Among the more notable episodes are "Rude Awakening," directed by Peter Sasdy, in which a man (Denholm Elliott) has increasingly sinister dreams involving his wife and his mistress. There's an exciting sequence inside a building that is being demolished. "Children of the Full Moon" has to do with a honeymoon couple who encounter the inhabitants of an old house, a cult of werewolves, with a depressing conclusion. "The Two Faces of Evil" is a disquieting episode, well-directed by Alan Gibson,  in which a paranoid woman is besieged by demonic duplicates of her husband (Gary Raymond of The Millionairess) and son. "The House That Bled to Death" details odd occurrences in a house where grisly murders were committed, and bears a resemblance to The Amityville Horror but has its own shrewd and devilish twist.

Diana Dors in "Children of the Full Moon"

One of the most disappointing episodes is "The 13th Reunion," in which plane crash survivors have turned into a cannibal sect, but this great premise is completely muffed.  "Witching Time" is a mediocre story of a 17th century witch who is on the loose in modern times. "Growing Pains," in its story of weird things that happen after a scientist and his wife adopt a strange little boy, is initially absorbing but then becomes too confusing for its own good. An African fetish statue that causes death is the title object in the unoriginal and hum-drum "Charlie Boy," although it has some suspense. Pierce Brosnan is one of the victims of the "Carpathian Eagle," which butchers a series of men, and "Guardian of the Abyss" concerns a young lady in a cult and a supernatural mirror. "The Mask of Satan" is a stupid episode in which a man is convinced that he's been infected with a very strange virus. Kathryn Leigh -Scott of Dark Shadows fame stars in "Visitor from the Grave," in which a woman kills an intruder who keeps appearing wherever she goes; a poor script sinks this one, unfortunately.

Verdict: Not enough great episodes but most are at least reasonably entertaining. **1/2. 

DRACULA A.D. 1972

New Blood: Christopher Neame as a young vampire

DRACULA A.D. 1972 (also known as Dracula A.D./1972). Director: Alan Gibson.

A prologue set in 1872 shows the deaths of both Dracula and Van Helsing after a final, furious battle, then the film jumps ahead 100 years in this first of Hammer's 20th century Dracula flicks. Lorrimer Van Helsing (Peter Cushing) is the grandson of the great vsmpire hunter, living in modern London with his granddaughter, Jessica (Stephanie Beacham of Schizo). Jessica is friends with a man named Johnny Alucard (Christopher Neame), who is apparently the reincarnation of one of Dracula's human slaves. Johnny enlists his friends in a black mass, the sole purpose of which is to revivify the ancient, blood-sucking count (Christopher Lee). Dracula snacks on several of Johnny's nubile friends and turns a decidedly willing Johnny into a vampire, but Drac wants revenge on the Van Helsing family and sets his sights on Jessica ... Dracula A.D. 1972 with its jazzy score is like a pop version of Dracula but it mostly works, primarily because of a fast pace and some excellent acting. Cushing and Lee give their usual classy and committed performances, and Neame is a real find as the dynamic and evil Alucard. Michael Coles makes an effective Inspector Murray and Caroline Munro [The Spy Who Loved Me] is fine as one of the count's first victims. The action sequences are well-staged by director Gibson. The vampire folklore in the film is confusing, as Dracula turns people into vampires with one bite without their dying first, and his other victims never rise from the grave. The group Stoneground perform the catchy enough "Alligator Man" in a party sequence. Neame has amassed nearly 100 credits and is still working today. Followed by The Satanic Rites of Dracula.

Verdict: Fun Dracula flick with excellent performances. ***.