Patrick McGoohan | Scott's Film Reviews-1,450 + Reviews posted!!! COMING SOON-MY NEW TOP 250 FILMS!!

The Three Lives of Thomasina-1963

Director Don Chaffey

Starring Patrick McGoohan, Susan Hampshire

Scott’s Review #1,367

Reviewed June 7, 2023

Grade: B

The Three Lives of Thomasina (1963) is a film in which the animal, in this case, a sleek orange tabby cat, steals the show from the humans. It’s not as if the acting by the actors is terrible but who doesn’t love a cute feline clad in a bonnet?

The film is a Disney production but not one of the top tier nor mainly well remembered and was unknown to me before I watched it.

It’s related to Mary Poppins (1963) in that the cheery tone is similar and the two child stars were signed to play the Banks children as a result of The Three Lives of Thomasina.

There are enough tender and sentimental moments to satisfy fans who may crave a deeper or darker veneer but there is some fluff and predictability to wrestle with.

With high hopes of entertaining our cats Zeus and Thora with this film the furry felines largely slept through the experience and rendered it uninteresting.

Schoolgirl Mary McDhui (Karen Dotrice) lives in a small village in Scotland with her stoic veterinarian father, Andrew (Patrick McGoohan), and her cherished cat, Thomasina.

When Thomasina is injured, Andrew has the animal euthanized, which infuriates Mary who vows never to forgive her father. Unbeknownst to everyone, Thomasina’s still-living body is rescued by Lori (Susan Hampshire), a kind animal healer who nurses the cat back to health.

The romantic intention of uniting Andrew and Lori is obvious from the start and the pair have decent chemistry. Lori is a Snow White type character, whistling and prancing through her garden befriending any animal who languishes near her.

Deemed a witch by neighborhood kids terrified by her healing powers she doesn’t look the part. With golden hair and attractive features, she is more Rapunzel than the Wicked Witch of the West.

Andrew is a masculine character we’ve seen in stories. Widowed, he has lost faith in humanity and god alike living a sad existence with his housekeeper and kids.

To nobody’s surprise, in the end, Andrew, Lori, the kids, Thomasina, and the housekeeper all ride off into the sunset as happy as clams.

Though the story is generic, other aspects of The Three Lives of Thomasina spruce things up brighter than the Scottish flowers. The landscape is magical with lush countryside sequences and cute side streets and cottages.

A fabulous sequence occurs at the midpoint when a ‘dead’ Thomasina soul goes to a feline afterlife and meets the Egyptian cat goddess Bastet. Since Thomasina still has eight lives left, Bastet returns her to her body.

The sparkling and twinkling lights and the myriad of other felines are beautiful and filled with emotion.

Hopefully, the real-life animals were treated kindly but in 1963 I’m not sure how much could be faked. Still, amazing work mimicking a wounded badger is impressive.

The thrilling finale involves a tribe of gypsies setting up camp in town and opening their traveling circus. Laden with obvious stereotypes which seem clear in 2023 but were unnoticed in 1963, the gypsies abuse their animals causing a stir among the townspeople.

A fight, fire, and justice prevails and all animals are spared.

A 1960s Disney film with family-friendly themes and compassion, The Three Lives of Thomasina (1963) will satisfy cat lovers or anyone fond of animals. The real-life Thomasina is worth the price of admission for her gorgeous good looks alone.

Escape from Alcatraz-1979

Director Don Siegel

Starring Clint Eastwood

Scott’s Review #656

Reviewed July 2, 2017

Grade: B+

Made during the heyday (the 1970s and the early 1980s) of a slew of action and thriller-type films to star popular actor, Clint Eastwood, Escape from Alcatraz is a gritty, guy-focused film with not one single female character insight.

The film is directed by Don Siegel, who also directed Eastwood in several previous films, most notably, Dirty Harry in 1971, and contains a grittiness frequently used in this genre of film during the period.

Reminiscent in style of 1975’s One Flew Over the Cuckoo’s Nest in its authority repressing and taking advantage of the victimized common man, the film itself is also a good historical account of one of the most famous prison escapes ever achieved, in 1962.

Having recently visited the long since shut down Alcatraz prison near San Francisco, California, the film was wonderful to watch at this time as much of it was shot inside and around the actual prison grounds.

We immediately meet Frank Morris (Eastwood) as he is unceremoniously led to the infamous Alcatraz prison on a stormy, chilly night in foggy San Francisco. The dark, harsh weather perfectly sets the tone for the dreary prison experience he will face.

Morris is stripped, searched, intimidated by the warden and the guards, and paraded around naked, finally taken to his tiny cell, where he will presumably spend the rest of his life.

The film does not reveal what crimes Morris has committed to warrant his tenure in Alcatraz this way the character is more sympathetic.

Slowly, Morris befriends other inmates and formulates an idea to escape the impossible prison by digging through the cement walls with spoons and escaping through pipes.

The other inmates featured in the film are the Anglin brothers, in for robbery, a kindly older man named Doc, who fervently paints the time away, nervous Charlie Butts, and English, an intelligent black man serving two life sentences for killing two white men in self-defense.

All of these men in some way aid Morris in his escape from the torturous Alcatraz.

A side story involves a bully named Wolf, who has designs on Morris from day one. Whether Wolf is actually gay or merely a menace is unknown and not explored. Throughout the film, Wolf and Morris fight and spend time in solitary confinement and their rivalry is an interesting sub-plot.

The film wants the viewer to be on the side of the prisoners and I am not sure if in real life the prisoners would be as sympathetic as portrayed in the film. Most of them seem to be confined to Alcatraz for robberies or crimes they did not commit or circumstances deeming the crimes inevitable in some way.

Furthering a liberal slant to the film is the friendship between Morris and English. An interracial friendship between the men reveals that our hero Morris is progressive-thinking and a “good guy”.

Conversely, most of the guards and certainly the Warden (Patrick McGoohan) are written as terrible, unsympathetic people. When an inmate drops dead of a heart attack, the warden coldly remarks “Some men are destined never to leave Alcatraz alive”.

The Warden is the foil of the film and in the final scene, the Warden gets a bit of comeuppance when a mocking souvenir is left for him.

To further compare Escape from Alcatraz to One Flew Over the Cuckoo’s Nest, the Warden is a similar character to the infamous Nurse Ratched in their mutual, diabolical sadism.

I am unsure if in “real life” the distinctions between the prisoners and the authority figures were so black and white, but it sure makes for good film drama. It is “the heroes versus the villains” but in reverse.

The inevitable escape sequence is predictable but highly compelling as Morris and Company enact their escape plot during an overnight.

The usage of papier-mache dolls to fool the guards is heavily dramatic and compelling.

Escape from Alcatraz (1979) is not high art but works as a historical account of a real-life incident in one of the most discussed prisons in United States history.

The film is also a perfect starring vehicle for Eastwood as he is well cast in the gritty, yet likable role of prisoner Morris.

The film is a good, solid, late 1970s thriller.