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Philip Saville (28 October 1927 – 22 December 2016) [2] was a British director, screenwriter and former actor whose career lasted half a century. The British Film Institute 's Screenonline website described Saville as "one of Britain's most prolific and pioneering television and film directors". [ 3 ]
Max and Helen is a 1990 American drama film directed by Philip Saville and written by Corey Blechman. It is based on the 1982 book Max and Helen by Simon Wiesenthal. The film stars Treat Williams, Alice Krige, Martin Landau, Jonny Phillips, Adam Kotz and Jodhi May. The film premiered on TNT on January 8, 1990. [1] [2] [3]
Oedipus the King is a 1968 British film adaptation of the Sophoclean tragedy Oedipus Rex, directed and co-written by Philip Saville.It stars Christopher Plummer as the title character, Orson Welles as Tiresias, Lilli Palmer as Jocasta, Richard Johnson as Creon and Donald Sutherland as the leading member of the Chorus, though the latter's voice was dubbed by Valentine Dyall.
The Best House in London is a 1969 British comedy film directed by Philip Saville and starring David Hemmings, Joanna Pettet, George Sanders, Warren Mitchell, John Bird, Maurice Denham and Bill Fraser. [2] [3] It was written by Dennis Norden.
Madhouse on Castle Street is a British television play, broadcast by BBC Television on the evening of 13 January 1963, as part of the Sunday Night Play strand. It was written by Evan Jones and directed by Philip Saville.
The Gospel of John is a 2003 epic biblical drama film that recounts the life of Jesus according to the Gospel of John. [3] The film is a word-for-word adaptation of the American Bible Society's Good News Bible and follows the Gospel of John precisely, without additions to the story from the other Gospels or omissions of the Gospel's complex passages.
Pages in category "Films directed by Philip Saville" The following 19 pages are in this category, out of 19 total. This list may not reflect recent changes. A.
It was directed by Philip Saville and produced by Sydney Newman. The second of Muller's seven plays for Armchair Theatre, Mark Duguid writes: "Although it lacks the cynical bite of, say, Alexander Mackendrick's The Sweet Smell of Success (US, 1957), Muller's script convincingly evokes the sordid shallows of showbiz."