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The Judi Dench Collection (1962-1991)

Cast: Ian Holm, John Gielgud, Judi Dench, more...
    see all cast/crew...
Studio: BBC Warner
Genre: Comedies, Drama, Television, Black Comedy, British Comedy, Costume Drama/Period Piece, British TV, TV Drama, British Drama, Drama TV, Dysfunctional Families
Languages: English
    see additional details...

Synopses
The Judi Dench Collection: Absolute Hell (1991)
Absolute Hell (1991) is a lost-souls black comedy starring Dench as Christine, the proprietor of a bohemian nightclub in post-World War II London. The cast includes her future Notes on a Scandal costar, Bill Nighy, as a washed-up writer.

The Judi Dench Collection: Can You Hear Me Thinking?/Going Gently (1990)
Two powerful dramas comprise disc 8, Going Gently, for which Dench earned another BAFTA as a hospice nurse to two adversarial patients, and Can You Hear Me Thinking?(1990), starring Dench and her late husband Michael Williams (A Fine Romance) as parents whose lives are shattered when their teenage son develops schizophrenia.

The Judi Dench Collection: Ghosts (1981)
Ibsen's still potent Ghosts (1981) boasts a stellar ensemble, including Kenneth Branagh as doomed son Oswald and Michael Gambon as Pastor Manders, with Dench as Mrs. Alving, whose respected late husband led a dark, secret life.

The Judi Dench Collection: Keep an Eye on Amélie/Make and Break (1973)
Georges Feydeau's Keep an Eye on Amelie (1973) is a carefree hour in which Dench stars as a coquette who agrees to marry a confirmed bachelor (Patrick Cargill) so he can inherit a million francs. This production is paired on disc 4 with writer Michael Frayn's (Noises Off!) award-winning comedy Make and Break, which unfolds at a trade fair in Frankfort and stars Dench as a devoted secretary to a work-consumed boss.

The Judi Dench Collection: Talking to a Stranger Part 1 and 2 (1966)
John Hopkins' Talking to a Stranger (1966) is a British television benchmark that is mentioned in the same breath as Dennis Potter's masterpieces. Dench won her first BAFTA (the British equivalent of the Oscar) for her role as a damaged sibling in a dysfunctional family.

The Judi Dench Collection: Talking to a Stranger Part 3 and 4 (1966)
John Hopkins' Talking to a Stranger (1966) is a British television benchmark that is mentioned in the same breath as Dennis Potter's masterpieces. Dench won her first BAFTA (the British equivalent of the Oscar) for her role as a damaged sibling in a dysfunctional family.

The Judi Dench Collection: The Cherry Orchard (1962)
Dench stars as Anya in Anton Chekhov's The Cherry Orchard, a 1962 production translated by, and starring, John Gielgud and, as Madame Ranesvky, Peggy Ashcroft. Ashcroft is a hard act to follow, but Dench pulls it off in a 1981 production in which she assumes the role of the irresponsible aristocrat.

The Judi Dench Collection: The Cherry Orchard (1981)
Dench stars as Anya in Anton Chekhov's The Cherry Orchard, a 1962 production translated by, and starring, John Gielgud and, as Madame Ranesvky, Peggy Ashcroft. Ashcroft is a hard act to follow, but Dench pulls it off in a 1981 production in which she assumes the role of the irresponsible aristocrat.


GreenCine Member Ratings

The Judi Dench Collection: Absolute Hell (1991)
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4.67 (3 votes)
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The Judi Dench Collection: Can You Hear Me Thinking?/Going Gently (1990)
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0.00 (0 votes)
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The Judi Dench Collection: Ghosts (1981)
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6.00 (1 votes)
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The Judi Dench Collection: Keep an Eye on Amélie/Make and Break (1973)
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4.00 (1 votes)
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The Judi Dench Collection: Talking to a Stranger Part 1 and 2 (1966)
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9.00 (1 votes)
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The Judi Dench Collection: Talking to a Stranger Part 3 and 4 (1966)
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0.00 (0 votes)
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The Judi Dench Collection: The Cherry Orchard (1962)
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6.00 (2 votes)
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The Judi Dench Collection: The Cherry Orchard (1981)
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0.00 (0 votes)
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GreenCine Member Reviews

Too funny/Not funny enough by MBreslau January 1, 2011 - 6:08 AM PST
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The first film looks glorious and detailed on my HD screen; the second movie looks like it was shot on a home-movie camera - it's soft-focus and has Kodachrome colors.

The first film, a farce, is so fast-paced and stylized (stage actor conventions and exaggerations) that I had trouble following it.

The second film felt like the middle third of a six-hour slice-of-life documentary. I could not understand why anyone bothered to film it.
Highly realistic and believable, I thought it was pointless.

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© 2006 All Media Guide, LLC. Portions of content provided by All Movie Guide®, a trademark of All Media Guide, LLC.