Penelope Gilliatt (/ˈdʒɪliət/; born Penelope Ann Douglass Conner; 25 March 1932 – 9 May 1993) was an English novelist, short story writer, screenwriter...

Look up Gilliatt in Wiktionary, the free dictionary. Gilliatt is a surname. Notable people with the surname include: Penelope Gilliatt (1932–1993), English...

lapping waters of the Clyde." Osborne met his third wife, writer Penelope Gilliatt, initially through social connections, and then through an interview...

1971 British drama film directed by John Schlesinger, written by Penelope Gilliatt, and starring Glenda Jackson, Peter Finch, Murray Head and Peggy Ashcroft...

essayist and biographer Penelope Gilliatt (1932–1993), English novelist, short story writer, screenwriter and film critic Penelope Jean Hayes, American self-help...

Bates was deemed unavailable to shoot. According to screenwriter Penelope Gilliatt, Bannen never felt comfortable with the part. The anxiety adversely...

called it "a clever, rough, modestly budgeted but imaginative work". Penelope Gilliatt of The New Yorker was negative, writing, "This pompously prophetic...

flair, who assuredly suggests the indolent young man about town." Penelope Gilliatt of The Observer called it "a triumph" and wrote "the thing that is...

Sellers, recreating the role of the hapless but dogged French sleuth." Penelope Gilliatt of The New Yorker wrote that Sellers was "working here at his best...

John H. Foote Gary Franklin (KABC-TV) Philip French (The Observer) Penelope Gilliatt (The Observer, The New Yorker) Owen Gleiberman (Entertainment Weekly)...

poster that said: '2001 – the ultimate trip!'" In The New Yorker, Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor ...

melodrama since 'Planet of the Apes' and a new classic of the genre." Penelope Gilliatt of The New Yorker wrote: "The robots have endearing qualities, paddling...

Mail under the pseudonym Ann Temple. In the late 1960s, she replaced Penelope Gilliatt as film critic for The Observer. Mortimer also wrote screenplays....

professional pose, a phony mask of invulnerability and moral superiority." Penelope Gilliatt of The New Yorker called it a "dire film" with a "crass" script, and...

married, but was, for many years, the companion of English author Penelope Gilliatt, who died in 1993. He died from cancer in New York City on October...

first half some passages of terrific power and brutal believability." Penelope Gilliatt of The New Yorker wrote, "This is a brilliant, poetic film about a...

Academy Award for Best Original Song Score. Sunday Telegraph critic Penelope Gilliatt called it "a very bad film and a touching one ... about the breaking...

Canterbury The Very Rev. Eric Abbott, Dean of Westminster Dr Roger Gilliatt and Penelope Gilliatt (best man) [ [Hugh FitzRoy, 11th Duke of Grafton|Earl]] and...

film "a wonderful and—for want of a better word—judicious work". Penelope Gilliatt of The New Yorker wrote "This picture is historically fascinating...

watch, even if you question the drift and outcome of the parable." Penelope Gilliatt of The New Yorker wrote, "In the end, 'Joe' sells us short. It shows...

fictionalized documentary grim and angering in its implications." Penelope Gilliatt of The New Yorker declared it "a sweet-spirited film, saddened and...

a reminiscence of working with Antonioni. Critic and screenwriter Penelope Gilliatt provides an overview of Nicholson's role, "The Passenger is an unidealized...

beautifully acted and, perhaps more than anything else, amusing." Penelope Gilliatt of The New Yorker called the film "one of the saltiest and most endearing"...

The film was not well-received by Sellers' fans and critics, but Penelope Gilliatt of The New Yorker called it "an incredibly bad film, but Alan Arkin...

piece of art. The film lovers will love it if joke-seekers do not. Penelope Gilliatt of The New Yorker wrote: "This droll piece of work is [Allen's] most...

superimposed on the gleaming body of the girl in gold are inspired." Penelope Gilliatt, writing in The Observer, said that the film had "a spoofing callousness"...

half-hour episodes in season one and seven in season two. The writer Penelope Gilliatt wrote: "The usual charge to make against the Carry On films is to...

January 1964 and received a mixed reception from the critics, although Penelope Gilliatt, writing in The Observer, remarked that Sellers had a "flawless sense...

pompous moments are overwhelmed by the fluid energy of the piece." Penelope Gilliatt of The New Yorker identified the film as being "about sorts of dreams...

old-fashioned kind that leaves you feeling good when it's over". Penelope Gilliatt wrote that Richard Wesley's script "has managed to say something farcical...