Showing posts with label great ensemble acting. Show all posts
Showing posts with label great ensemble acting. Show all posts

Tuesday, April 7, 2020

Blu-ray debut for ICE COLD IN ALEX -- J. Lee Thompson's World War II desert road trip -- part of Film Movement's new five-disc set, THEIR FINEST HOUR


Forget having ever seen ICE COLD IN ALEX, I had never even heard of the movie prior to receiving news of Film Movement's new five-film/five-disc series entitled Their Finest Hour, devoted to classic World War II films. (Also included in the set are the unusual and quietly spectacular Went the Day Well?, German prison-escape thriller The Colditz Story, deservedly heralded The Dam Busters and the original 1958 version of Dunkirk.)

All these are worth seeing (probably more than once), but Ice Cold in Alex, TrustMovies feels, proves a splendid discovery for those of us viewing it for the first time, and very likely a rediscovery for anyone who saw it long ago.

Made in 1958, it is also one more reason to re-assess the career of journeyman filmmaker J. Lee Thompson (shown at left) -- not only for his well-known and popular movies such as Guns of Navarone and Cape Fear, but for his even better, lesser-known work like Yield to the Night and this first-rate genre-jumping film.

Ice Cold in Alex derives its title from the delicious cold beer one of its main characters hopes to have a glass full of, once he and his party reach Alexandria, Egypt -- if the place has not been already conquered by the German army by the time the rickety ambulance, by which the party is crossing the desert, arrives there.

En route from the military base at which the film begins, this quartet of characters faces all sorts of hazards -- from a minefield to pursuing German troops, a collapsing axle to, yes, desert quicksand -- all of which makes the movie off and on extremely suspenseful, in addition to its much-better-than-average ability to create complex, full-bodied, emotionally resonant characters who consistently engage and surprise us.

Those characters are played by (left to right, above) John Mills, Anthony Quayle, Harry Andrews and Sylvia Syms, and each could hardly be bettered -- either in choice of casting (Ms Thompson was a master at this) or via the performance each actor gives.

Mr. Mills, in particular seems cast against type (not to mention his platinum blond locks!) as an angry, alcoholic, often petulant fellow who still manages to almost rise to most occasions, while Ms Syms -- so gorgeous in her younger years -- helps transform a role that could have been played in fairly standard fashion into something rather feminist, considering its time frame. (Be sure to watch the terrific interview with the actress today, as she recalls, wittily and with great pleasure, what it was like to be a part of this movie.)

The crack supporting actor Harry Andrews (above, left) gives another of his subtly memorable performances as the fellow who provides the most help whenever needed, while Anthony Quayle (below, center left) essays the film's most interesting personality: a South African of beefy body, questionable character (and maybe suspect nationality) who consistently surprises us -- not to mention his effect on the other characters.

The screenplay by T. J. Morrison and Christopher Landon (based on the novel by Landon, which in turn is said to have been based on a real incident that happened during the African campaign) is replete with smart pacing, crisp dialog and plenty of "incident." The movie movie never lags, despite its 130-minute length.

Even though Ice Cold in Alex was made a bit more than a decade after WWII, its attitude toward the Germans is surprisingly benign -- which, as we learn via some of the Bonus Features on the disc, didn't prevent the film from becoming a huge hit both in its home country and internationally.

And the finale -- funny, witty, suspenseful, moving and surprising -- could hardly be better. This is a wonderful war film, even without any battle scenes, as well as a fine road movie, character study, suspense thriller and more. And given our current age of everything black and white, good and evil, truth and lies, it's a salutary reminder of a time when we were still able to modulate and see those necessary shades of gray.

From Film Movement in a sparkling new Blu-ray transfer, Ice Cold in Alex is available now as part of the five-disc set, Their Finest Hour, for purchase and (I hope soon for rental, too). My single caveat regarding this transfer -- and this entire new set of discs -- is that there are no SDH English subtitles to be found. Shameful!

Monday, October 14, 2019

A standard-issue, no-tricks, yet perfectly calibrated movie from François Ozon? You'll see, as BY THE GRACE OF GOD opens


What's this? A movie from François Ozon that breaks no new ground in any direction yet tells a very important story so well that it could hardly be bettered? Yes. It is almost as if this famous French bad-boy filmmaker was thumbing his nose (and various other body parts) at those who've accused him of being mostly style, envelope-pushing and little else.

BY THE GRACE OF GOD (Grâce à Dieu) finds Ozon, pictured at left, working at his peak and showing us that he can, in the space of two hours and 17 minutes, give us a vital tale of religion and freedom, including a huge cast of characters -- each one fully created and performed -- that is compelling from the first and ever more riveting and enveloping as it moves steadily, often quietly along. Ozon has directed with a touch that is alternately light and strong, while writing/adapting his screenplay from a true story that has been, over recent years, making off-and-on headlines in France.

The filmmaker uses standard tropes such a narrative voice-over to lead us into this tale of adult French men, former or still-practising members of the Catholic faith, who have only recently stopped repressing memories of sexual abuse by a particular priest.

One after another they find each other and begin to explore ways to break into the tight circle of rigidity formed by the church, the media and the law -- all of which have long held sway over the very noticeably Catholic country of France.

After the initial and still very religious whistleblower (played by Melvil Poupaud, shown three photos up) tries his best to even slightly crack the protective shell of the church with no success, he convinces another family man, now an atheist (Denis Ménochet, two photos above)  to join him. Both their statute-of-limitations have run out, so they must seek younger men willing to come forward. (Turns out there are plenty of these, as our priest was quite the randy fellow where teenage boys were concerned.) This is not an easy task, though they are able to convince one highly troubled man (played beautifully by Swann Arlaud, above) to participate.

How Ozon and his fine cast bring all the plot strands and characters -- major and minor -- together with strategy, emotion, subtlety, and even a good deal of humor is more than exemplary. In fact, the film works even better than did our Oscar-winning Spotlight from a few years back. (That's Éric Caravaca, below, right, as the smart, caring doctor who joins the group.)

The run-up to the finale is exciting, of course, but it is the what-happened-here credit crawl at the end that should put your knickers in a twist. At this point, there should be no doubt in your mind how very Catholic a country France remains. For all it has brought the world in terms of philosophy, the arts and culture, it remains given over to myth worship that is not simply appalling but utterly detrimental to any real growth.

Although the male actors are the stars here, Ozon allows his females to shine brightly, too, among them that great French actress, Josiane Balasko (above, right), playing the Arlaud character's supportive if guilt-ridden mom. After winning Silver Bear at the Berlin Film Festival, the film seems to TrustMovies to be a shoo-in for whatever the Academy has renamed the Best Foreign Language Film category this year. Scene by scene, line by line of succinct, smart dialog, By the Grace of God could hardly be bettered.

From Music Box Films, running 137 minutes and in French with English subtitles, the movie opens in New York City this Friday, October 18, at Film Forum and The Landmark at 57 West, and on October 25, it will hit Los Angeles (at the Landmark NuArt), Washington DC (at the Landmark E Street) and Cambridge, Massachusetts, at the Landmark Kendall Square. On November 8, it will open here in South Florida in the MDC Tower Theater and the Coral Gables Art Cinema. Click here then scroll down to click on Theatrical Engagements to view all currently scheduled playdates, cities and theaters.

Wednesday, April 4, 2018

Want a guilt-free feel-good film? Try Loncraine, Leonard and Moorcroft's FINDING YOUR FEET


Starring a very good array of what you might want to call current British film-star royalty (Helen Mirren is not among them, but the kind of crap she's been performing in of late makes that seem rather fitting) -- in particular Imelda Staunton, Timothy Spall and Celia Imrie -- this new film from that fine journeyman director, Richard Loncraine is such a non-stop pleasure to view and hear (the screenplay comes via Meg Leonard and Nick Moorcroft), that you can and very probably will give yourself over to it immediately. You will then spend the next hour-and-fifty-minutes on the British entertainment equivalent of Cloud 9.

Sure, you'll have been here (or somewhere very close to "here") many times previous, but the suave and svelte manner in which the filmmakers have assembled their wares and the ability of that cast to deliver them so perfectly makes all the difference.

FINDING YOUR FEET is about, among a bunch of other things, a marriage imploding, a new life beginning, another life actually ending, family re-connections, the state of being a senior citizen -- and dancing. That last figures into things in a most appropriate way, even more so than in another, somewhat similar movie, Stepping Out (from 1991). Here dancing serves as a kind of communal activity that brings our cast together and moves the plot forward, while providing some surprisingly spiffy "senior" musical numbers.

The endearing and feisty Ms Staunton (above: center, right) plays the woman whose marriage suddenly ends, after which she appears on the doorstep of her estranged sister (Ms Imrie -- below, right -- in the richest movie role she has had in some years) and is promptly sucked into the quite interesting life and various friendships of her sibling.

How this all happens is handled with style and finesse, and the movie is chock-a-block with little details that ring as true as they are specific. (That's Joanna Lumley, above, left.) Among those friendships is that of a rather sad-sack-but-appealing fellow (Mr. Spall, below, right) who, after a not-so-hot first meeting, becomes a large part of our heroine's new life.

Things happen -- some within the control of our characters, others completely out of their control -- the plot evolves, and the dancing takes its place, front-and-center and wonderful fun. By the time of the finale and the movie's own special version of that ever-present rom-com cliché, the race to the airport that will reunite our lovers, you'll know exactly what to expect and will then love every moment up to and including the perfect freeze-frame ending.

Yes, there are some tears along the way. But when, post-credits, you rise from your theater seat, it will probably take some time before that big fat and thoroughly satisfied smile on your face disappears.

From Roadside Attractions and running a near-perfect 111 minutes, Finding Your Feet, after opening on the coasts last week, hits South Florida (and elsewhere) this Friday, April 6. Here in the Miami area, it will play the AMC Aventura Mall 24 and The Landmark at Merrick Park; in Fort Lauderdale at The Classic Gateway Theatre, and in Palm Beach County at The Movies of Delray.

Saturday, September 30, 2017

Blu-ray/Digital/DVDebut: Jonathan Teplitzky's remarkable, stirring docudrama, CHURCHILL


CHURCHILL got past me when the film hit theaters earlier this year, but I'm very pleased to have caught up with it for its home video debut. It represents the best work director Jonathan Teplitzsky (Burning Man, The Railway Man) has so far given us, and it has a screenplay written by historian and first-timer screenwriter Alex von Tunzelmann that is remarkable in its ability to produce singular moments of great drama with subtlety, elegance, wit and feeling. One of the most memorable scenes I can recall in a long while is here: between Winston Churchill (a great Brian Cox) and King George VI (James Purefoy, as moving and surprising as you will have seen this versatile actor ).

The above scene, as well as several more equally as fine, dot this quiet but surprisingly suspenseful, compelling movie that details the enormous burden Churchill experienced, as D-Day approached, and the Prime Minister -- still experiencing the trauma of the earlier wartime blunder/ massacre he had been large responsible for at Gallipoli -- felt so strongly against the approaching operation. As written, acted by an ace cast, and directed with wonderful elegance and restraint by Teplitzky (shown above), these scenes combine to form one of the better docudramas of recent times. This is an intimate movie, using mostly interiors, with the exteriors located at the seaside or in country houses, so there's little need for big-budget sets and scenes flooded with extras.

Instead we get the drama of decision-making, of politics behind the scenes, and of relationships -- Churchill's with his wife, Clementine (the wonderful Miranda Richardson, above, with Mr. Cox); and with everyone from The King to General Eisenhower (John Slattery, below, left), Field Marshall Montgomery (Julian Wadham), and especially his aide-de-camp (a lovely, smart and deeply felt performance from Richard Durden).

This is one chapter of Winston Churchill's life for which the man would probably not want to be best remembered, but it's an important one nonetheless. TrustMovies must admit to half expecting the movie to be something of a "duty" he needed to view. Nonsense. Instead it proved surprising, thrilling in its singular manner, and full of pulsating life. It's a beautiful film in every way. Stick it on your "must" list.

From Cohen Media Group, Churchill arrives on DVD, Digital and Blu-ray (the transfer is impeccable, and the "making of" bonus feature quite worth seeing) this Tuesday, October 3 -- for purchase and/or rental.

Saturday, August 19, 2017

Sacha Guitry's LA POISON gets The Criterion Collection treatment on Blu-ray & DVD


Sacha Guitry. Hmmm... Of course, you've heard the name of this Russian-born, French playwright/filmmaker/actor. But his actual work...? Not so easily or quickly identified. As much as TrustMovies prides himself on knowing and appreciating French film, he is embarrassed to say that, until viewing LA POISON -- the 1951 film to be released on Blu-ray and DVD this coming week via The Criterion Collection -- he had never actually seen a Guitry movie. All that has now changed, as I plan to lap up each and every film by this fellow that I can find.

La Poison proves an original surprise from its opening credits onward. In those credits, which suddenly move from the usual written-words-on-screen to an in-person appreciation, as M. Guitry -- shown above, center, with two of his actors from the film -- takes the time and trouble to thank each of his actors, as well as his cinematographer, editor, set designer, music composer and every last person who collaborated on the film for their efforts. (He even makes a quick phone call to thank a woman we never see but whose voice we hear in the film.) Guitry also manages to get in a delightful bit of praise for, as well as a dig at, La Comédie-Française, regarding those two actors (Jean Debucourt, left, and Jacques Varennes, who flank him, above.

Because, La Poison is the first and only piece of Guitry I've seen, I must base my ideas and opinion solely on it. From this, I'd say the man had a great gift for witty dialog, smart and subtle satire, and a marvelous appreciation of human hypocrisy combined with a gift for unveiling that hypocrisy in all its varied splendor. His theme here is marriage gone about as sour as marriage can go, which had led to its participants' plans to do away with each other. Hers (Germaine Reuver, above), the poison of the title, is the more standard approach, while his (that great and unique French actor Michel Simon, at left, below) turns out to be something quite different that blossoms and evolves in amazing ways as the plot unfurls.

Guitry's film begins slowly and sweetly, with a look a "typical" French provincial town that turns out to be both typical and not so. The town's priest (Albert Duvaleix, above, right), as in the work of Marcel Pagnol, dispenses as much logic and solid, worthwhile advice, as he does religion, while the town gossip, (Pauline Carton, below), rather than being some mean-spirited bitch, turns out to be pretty smart, as she and the town pharmacist go over the various ailments that plague the citizens, and she compares here own notes regarding a person's character with the prescription given him (or her). This is a scene -- cleverly mixing humor, intelligence and moral ambiguity -- that you will not have encountered.

Once the "murder" plot is set in motion, the pace picks up mightily, as do the film's humor, satire and surprise. How Guitry works out his particular and peculiar "morality" is as smart, shocking and delightful as anything you'll have seen. Tt will have you alternately laughing and gasping, and always alert so as not to miss a single, clever, engaging bit of word play or moral hypothesis.

Performances are all you could want (Guitry clearly knew his actors and what they could accomplish like the back of his hand), and his keen appreciation of what human beings -- including, yes, children -- so often understand and can reveal seem to me pretty extraordinary. (That's Jeanne Fusier-Gir, above center, as the town florist.)

Criterion's new Blu-ray is spectacular indeed. The transfer could hardly look better, competing I should think, with the film's quality at the time of its theatrical release. Supplements include a lovely appreciation of Guitry, his work, and particularly this film, by no less than Olivier Assayas, while the supplementary 24-page booklet includes a fascinating essay by Ginette Vincendeau that details the movies strengths, as well as its misogyny, along with details of Guitry's life and WWII activities. It's a must-read (but see the film first), as is the wonderful obituary on Guitry included here, which was written by François Truffaut.

Arriving on both Blu-ray and DVD from The Criterion Collection this coming Tuesday, August 22, La Poison, in French with English subtitles and running just 85 minutes, will be available for both purchase and rental.

Thursday, June 15, 2017

In Nick Hamm and Colin Bateman's fine docu-drama, THE JOURNEY, imagination fills the bill


The pre-credit information we read as THE JOURNEY begins tells of the 40 years of conflict in Northern Ireland, the thousands of deaths (and-who-knows-how many-more-wounded) that was known collectively as "the troubles." In 2006 two leading players in this conflict -- Ian Paisley and Martin McGuinness -- met in Scotland to try to work out some kind of final, lasting peace. When the pre-title information then tells us that the film we are about to see "imagines" this journey of the two men, red flags immediately went up in TrustMovies' mind.

They needn't have. As it turns out, this terrifically conceived and executed movie -- written by Colin Bateman and directed by Nick Hamm (the latter is shown at right) -- is a fine example of how imagination, when rendered this well, can produce a richly layered look into an event in which the "facts" may be unknown but the spirit of the event, as well as its outcome, is captured believably and thoughtfully. In the process, we are made to see and understand things from both points of view, while being forced to mull over what that past history -- much of it damaging and awful -- has encompassed. Oh, yes: I should also tell you that the film is often surprisingly funny, unexpectedly moving and vastly entertaining, too.

If we see better ensemble acting this year, not to mention the film's two remarkable leading performances, I shall be very surprised. Paisley, in all his gruff, self-righteous anger, is played by a somewhat trimmed-down Timothy Spall, above, who is as splendid as always. Weight loss does not seem to have diminished his amazing abilities. In the role of McGuinness, I would says that the under-sung actor Colm Meaney (above, right, and below, left) gives the performance of his life -- except that he always does this. He brings such feeling and intelligence, with so much subtlety, to the proceedings, that he all but steals the show. Granted, it is his character with whom we most identify. And yet these two men make such fine foils for each other that they both keep the audience constantly on its toes.

The third actor who figures cleverly into things is Freddie Highmore, (above, right), playing the delightfully naive driver of the car that takes our two men on their most important journey. Highmore discovers so much fun and wit in this role, in which our driver proves to have a surprise up his sleeve (and others over his ears and under his belt), that it took me half the movie before I realized I was watching the actor who has incarnated so well our modern-day Norman Bates.

That ensemble mentioned earlier includes the likes of Toby Stephens, playing a concerned but not especially competent Tony Blair; the late John Hurt, simply grand as one of Blair's uber-competent enablers; Ian Beattie (below, and practically the spitting image of Gerry Adams); and Catherine McCormack as the lone woman among the backroom bunch.

How all this plays out, and how the powers-that-be try to control the journey itself makes for suspense, surprise and a good deal of humor. But it is finally the two main men, who they are, what they stand for, and how they reach their destination that makes this movie so riveting and important.

There was a time, decades ago, that I believed the situation in Northern Ireland was an impossible one. Well, no. Perhaps, the same will be true someday of the situation in Israel. Except, of course, for the concurrent ones regarding America's ever-increasing plutocracy and appalling non-leadership, and the little being done to alleviate climate change.

From IFC Films and running a just-right 95 minutes, The Journey opens tomorrow, Friday, June 16, in New York City at the IFC Center and Lincoln Plaza Cinema. On Friday, June 23, it will hit Los Angeles at Laemmle's Royal, Playhouse 7 and Town Center 5. Elsewhere? Sure hope so, but as it's from IFC, we'll certainly see DVD and streaming opportunities semi-soon.

Monday, April 10, 2017

Sunday Corner with Lee Liberman: Mark Passover and Easter with AMAZING GRACE, the story of British abolitionist William Wilberforce who made his country 'great'


Now available for rental or purchase via Amazon Video, AMAZING GRACE, the evocative 2006 film that Rotten Tomatoes' critics consensus calls "Your quintessential historic biopic: stately, noble and with plenty of electrifying performances" is worth the two-hour look-back at this 18th century British version of our own 19th century Civil War. However the UK abolitionist movement, amidst centuries of empire building, resembled Martin Luther King's 20th century non-violent crusade for civil rights rather than our own guns-and-bullets conflict of the 1860's.

The film is very well directed by Michael Apted, while the estimable Steven Knight (shown at left, of Taboo, Locke, Allied, Peaky Blinders) wrote the tender, satiric, contentious screenplay that slowly unpacks William Wilberforce's long struggle against British Parliament's endless intransigence on the slavery topic, most MP's having interests that profited from the trade. In fact Britain's empire can be said to have acquired the prefix 'Great' on the backs of slaves who grew, processed, and helped distribute tobacco, sugar, cotton.

The film is stocked with best Brits led by handsome leading Welshman Ioan Gruffudd (above, from Forever, Horatio Hornblower, Titanic, Forsyte Saga, UnREAL) and includes Benedict Cumberbatch, Albert Finney, Romola Garai, Rufus Sewell, Toby Jones, Michael Gambon, Ciaran Hinds, Youssow N'Dour and Jeremy Swift (as Wilberforce's well-read butler, who here previews his dutiful service to Dowager Countess Grantham in Downton Abbey).

Preacher John Newton's poem Amazing Grace (1772) was the moral underpinning of the abolitionist movement and is said to have been performed 10,000 times a year in the U.S., with spurts during our Civil and Vietnam Wars. In Britain, slavery existed from before Roman times (mostly conquered European populations). The human traffic in Africans began much later, commandeered by Elizabethan seafarer, Sir John Hawkins, who formed a slave-trading syndicate of merchants in the mid-1500's, launching Britain's leadership in the Atlantic slave trade.

Newton (1725-1807), above, was a ship owner and slave trader before a religious conversion led him to the ministry. He wrote: “It will always be a subject of humiliating reflection to me, that I was once an active instrument in a business at which my heart now shudders.” We first meet him (Albert Finney) barefoot and in sackcloth, mopping the floors of his London church. Young William Wilberforce, torn between pursuing a religious life or a promising career in Parliament, has come to seek the advice of his old mentor who continues to live with the ghosts of thousands of humans whose lives he had taken or ruined.

Newton urges Wilberforce to shun a religious life and use his leverage as a politician: "Blow their filthy ships out of the water -- the planters, sugar barons of London, Liverpool, Boston, Bristol, New York -- all those streets running with blood, dysentery, puke. You won't come away from those streets clean, Wilber. You'll get filthy with it, you'll dream it." Newton founded a group known as the Clapham Sect which grew among members of Holy Trinity Church on Clapham Common, a fashionable area south-west of London. A network of friends bonded together over their enlightenment views and activism, eventually aiding the passage of the Slave Trade Act banning slave trading throughout the colonies and years later the emancipation entirely of all British slaves.

Thus with the prodding of his friend and future Prime Minister, William Pitt (Cumberbatch, above, left, whose acting is so subtly fine, at moments he steals the focus from Gruffudd), and the aid of the Clapham supporters began Wilberforce's near 20-year campaign of oratory and action in the House of Commons to expose his fellow legislators to the ugliness of slavery. London had the largest Black population in Britain in the mid-1700's -- about 10,000. Having black servants was fashionable. In one depressing incident, Wilberforce is gambling in the company of the Duke of Clarence (Toby Jones) who has his black coach driver hauled to the gaming table as 'capital' offered to settle his losses. To his friend Pitt, Wilberforce says bitterly: "For me, slavery is like arsenic. Each new tiny dose doubles the effect". It was their friendship from student days at Cambridge -- Pitt the master politician, Wilberforce the passionate, witty orator -- that positioned Wilberforce at the helm of the legislative process.

"It is with a heavy heart that I bring to the attention of the House a trade which degrades men to the level of brutes and insults the highest qualities of our common nature..... Conditions in Jamaica are... brutal..... Many children are scalded to death by the molten lava. Others die of exhaustion or roll into the fires in their sleep. The result in the morning is a few pounds of pure refined sugar." Wilberforce as a very young MP experienced a religious experience himself. His friend Henry Thornton, banker, economist, MP, great-grandfather of E.M. Forster (Nicholas Farrell), introduced Wilberforce to his wife Barbara Spooner (Romola Garai, below) and to the Clapham activists who persuaded him he could do God's work and politics too by taking up the cause of abolition in Parliament.

Year after year Wilberforce and his Clapham friends assembled new evidence, petitions, demonstrations, and first person accounts. Below center: the freed slave Olaudah Equiano (Youssow N'Dour), chains from a slave ship on the table beside him and at right, Thomas Clarkson (Rufus Sewell).


Patriots refused sugar in their tea; renowned pottery-maker Josiah Wedgwood manufactured an official medallion for the movement (below). Their collective efforts have been referred to as the world's first grass roots human rights campaign.

But Wilberforce would submit his bill in the House of Commons and watch its defeat over and again. Below, Ciaran Hinds (Game of Thrones), is Liverpool's rabid pro-slavery MP orator, Sir Banastre Tarleton. Tarleton had earned a reputation as hated officer and butcher during the American Revolution -- sympatico with his ardent support of slavery.

Each millennia it has to be relearned: when logic and decency fail and other means must be tried, whether more subtle or more violent. In this case it was maritime lawyer, James Stephen, who came up with a clever legal maneuver that broke the logjam. Stephen called it: 'nosus decipio'-- loosely translated, 'we cheat'( the denouement of the film). And they succeeded -- the Slave Trade Act finally passed in 1807. However Wilberforce (shown below in a portrait from his day) was no liberal. Change, he believed, should come through Christianity and improvement in morals, education, and religion. He opposed unions, women anti-slavery activists, any appearance of anarchy. The essayist William Hazlitt condemned him for preaching the teaching of Christianity to savages while tolerating its worst abuses at home. However he did support prison reform, improved working conditions for chimney-sweeps and textile workers, and less severity of punishments. He died in 1833 just after learning that the final piece of legislation to abolish slavery throughout the empire was about to pass. Nearly 800,000 Africans were freed, most in the Caribbean.

Note: press HERE for the link to a description of the Atlantic Triangle Trade -- in which slaves and goods were moved between Africa, the Colonies, and Europe.

This Sunday Corner post was written by
our monthly correspondent, Lee Liberman, 
but appears a day late, thanks to TrustMovie's 
current forgetful state. Sorry, Lee!