The best Marjie Lawrence’s drama movies
Today we present the best Marjie Lawrence’s movies. If you are a great movie fan, you will surely know most of them, but we hope to discover a movie that you have not yet seen … and that you love! Let’s go there with the best Marjie Lawrence’s movies.
Shiner
5.9/10
The past catches up with a ruthlessly ambitious boxing promoter.
Remembrance
5.2/10
A group of Devonport-based Royal Navy ratings, due to sail to America for a six-month NATO exercise, go out on the town on their last night in port, hitting Plymouth's notorious Union Street district, with violent results.
Only Two Can Play
6.6/10
John Lewis is bored by his librarian's job and henpecked at home. Then Liz, wife of a local councillor, sets her sights on him. But this is risky stuff in a Welsh valleys town - if he and Liz ever manage to consummate their affair, that is.
Sparrows Can't Sing
6.2/10
Charlie returns to the East End after two years at sea to find his house demolished and wife Maggie gone. Everyone else knows she is now shacked up with married bus driver Bert and a toddler, and they all watch with more than a little interest at the trail of mayhem Charlie leaves as he goes about sorting things out.
Cop-Out
5.5/10
John Sawyer, once an eminent barrister, has slid into a life of cynicism and drunkenness since his wife left him. When his daughter's boyfriend is accused of murder, Sawyer decides to try to pull himself together and defend him in court.
A Place to Go
6.5/10
Set in contemporary Bethnal Green in east London, A Place to Go charts the dramatic changes that were happening in the lives of the British working-class at the time.
Tell Me Lies
6.9/10
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.
