detail profile eric allan
Peran Yang Di Mainkan Eric Allan
Jonathan Cake Jemma Redgrave and Hugh...Mosley 1998
Jonathan Cake, Jemma Redgrave and Hugh Bonneville lead an outstanding cast in this mini-series tracing the turbulent political career and tempestuous private life of Oswald Mosley, leader of the British Union of Fascists during the 1930s. The mini series charts Mosley's rise to political notoriety through his personal life – from youthful rising star of the Conservative Party to potential leader of the Labour Party, and later abandonment of conventional party politics to become a figurehead of burgeoning fascism.
Four policemen go undercover and infiltrate...
The pupils of the Dora Jackson...
Jack Lawrence and Jimmy Dunne were...Unreported Incident 1988
Jack Lawrence and Jimmy Dunne were once, briefly, enemies at opposite ends of a gun on the Irish border; now their lives have become inextricably mixed. They are together on a chat show whose host wants a sob story with a happy ending, but gets something entirely different.
Writer and Director Mike Leigh discusses...Mike Leigh: Making Plays 1982
Writer and Director Mike Leigh discusses the techniques used to create his plays.
In prison the night before his...
Nobody goes to Amsterdam to wander...
An Alcoholics Anonymous meeting
A middleclass couple go camping in...
Transmitted as part of BBC Schools...A Mug's Game? 1973
Transmitted as part of BBC Schools series Scene, 8 March 1973. Actor improvisations around the theme of gambling devised by Mike Leigh.
Moments from the uncompromisingly bleak existence...
A German UBoat commander plans a...
Adapted and directed by Peter Brook...Tell Me Lies 1968
Adapted and directed by Peter Brook from the Royal Shakespeare Company’s ‘production-in-progress US’, this long-unseen agitprop drama-doc – shot in London in 1967 and released only briefly in the UK and New York at the height of the Vietnam War – remains both thought-provoking and disturbing. A theatrical and cinematic social comment on US intervention in Vietnam, Brook’s film also reveals a 1960s London where art, theatre and political protest actively collude and where a young Glenda Jackson and RSC icons such as Peggy Ashcroft and Paul Scofield feature prominently on the front line. Multi-layered scenarios staged by Brook combine with newsreel footage, demonstrations, satirical songs and skits to illustrate the intensity of anti-war opinion within London’s artistic and intellectual community.
