Patrick Magee

Quote:
Twenty-five years on from its release, A Clockwork Orange has lost none of its power to shock and outrage. In this near-future setting the outlets for teenage enthusiasm are few and far between. Disenchanted, youths form ritualistic gangs, fight battles and engage in vandalism. Alex DeLarge (Malcolm McDowell) is the leader of just such a group, marked out by their preferences for phallic masks and boiler suits. His select followers (known as droogs) are Dim (Warren Clark), Georgie (James Marcus) and Pete (Michael Tarn). On a typical evening they’ll stop by the Korova for some milk-plus, to sharpen them up, before venturing into the urban jungle. On this particular night they don’t have to travel far for a spot of “ultraviolence”; a rival gang are about to force a bit of the “old in-out” on a helpless young devotchka (girl). For the pure love of violence they decimate their rivals.Read More »

In an insane asylum, Marquis de Sade directs Jean Paul Marat’s last days through a theater play. The actors are the patients.Read More »

Synopsis:
Patrick Magee is a psychic that can communicate with the dead. He also has the ability to control the mind of his cat (who incidently is black). He uses the cat to take vengeance upon his enemies. A photographer (Mimsy Farmer) who happen to be working for the local constables (David Warbeck, Al Cliver) begins to notice cat scratches on some of the accident victims that are turning up. She pays a visit to Magee (kitty just happens to be present) and conveys her suspicions of the cat’s involvement in some of the local deaths. Kitty doesn’t like this at all, and it’s his turn to control the mind of owner Magee to take it’s vengeance out.Read More »

PLOT:
Vivian Stanshall’s priceless film of exquisite lunacy is is a work of absurd genius. The labyrinthine plot sees Sir Henry, a mad aristocratic war veteran, attempt to exorcise the trouserless ghost of his dead brother, Humbert, whom he accidentally killed in a drunken duck-shooting accident. This is aided, or hindered, by his mad family and servants including the tapeworm-obsessed Mrs. E; Old Scrotum; the eternally knitting Aunt Florrie; the Lady Philippa of Stains, a turkey-legged old soak. With German POW’s in the garden, a mechanical bulldog, a horse in the billiards room and a marriage bed furnished with a barbed-wire divide, the mayhem of Rawlinson End is endless…
-Vivian StanshallRead More »

In 1795, in England, the young woman Catherine (Stephanie Beacham) moves to the house of her fiancé Charles Fengriffen (Ian Ogilvy) in the country to get married with him. When she arrives, she feels interest in the portraits of the Fengriffen family, particularly in the one of Charle’s grandfather Henry Fengriffen (Herbert Lom), which seems to have a sort of evil entity possessing it. While admiring Henry’s face, a severed hand attacks Catherine through the picture on the wall. Later, she gets married with Charles, beginning her journey of mystery, eerie apparitions, secrets and deaths, and having her days filled with fear and the nights with horrors in a cursed family.Read More »

These two one act plays were shown as part of the “A Wake for Sam” season on the BBC.

Krapp’s Last Tape (UK, BBC, 1972, 35 mins)

Theatre play, written 1957 in English
First published: New York 1958; Paris 1959
First production: Royal Court Theatre, London, 1958, directed by Donald McWhinnie

Directed by Donald McWhinnie
Cast: Patrick MageeRead More »

Quote:
Stanley Kubrick bent the conventions of the historical drama to his own will in this dazzling vision of a pitiless aristocracy, adapted from a novel by William Makepeace Thackeray. In picaresque detail, Barry Lyndon chronicles the adventures of an incorrigible trickster (Ryan O’Neal) whose opportunism takes him from an Irish farm to the battlefields of the Seven Years’ War and the parlors of high society. For the most sumptuously crafted film of his career, Kubrick recreated the decadent surfaces and intricate social codes of the period, evoking the light and texture of eighteenth-century painting with the help of pioneering cinematographic techniques and lavish costume and production design, all of which earned Academy Awards. The result is a masterpiece—a sardonic, devastating portrait of a vanishing world whose opulence conceals the moral vacancy at its heart.Read More »