"Actor: Roy Irving"

• Fighting Caravans | DVD | (01/08/2001) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £3.99

  One of the first big-budget Westerns based on a Zane Grey novel. Cooper convinces a fellow traveller on a west-bound caravan to pose as his wife to help disguise him then saves the caravan from an Indian attack. And falls in love of course.

• King Of The Cowboys | DVD | (14/02/2005) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £16.99

  Roy is sent by the Governor to investigate a gang of saboteurs and bring them in to justice. Joining a travelling show Roy discovers that the saboteurs communicate during Maurice's mind-reading act.

• Odd Man Out | DVD | (28/08/2006) from £13.98   |  Saving you £8.00 (66.72%)   |  RRP £19.99

  James Mason stars in this powerful suspense drama as Johnny McQueen the leader of a quasi-IRA group. When he's wounded in a botched robbery he becomes the object of an intense police manhunt and must scramble desperately about Belfast in an attempt to escape. Kathleen (Kathleen Ryan) the woman who loves him also takes off in pursuit of Johnny hoping to reach him before the police do.

• Odd Man Out | DVD | (07/07/2003) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £9.99

  Odd Man Out is a British classic from 1947 that fits the film noir definition in almost every respect. It's one of the milestones of its era, highlighted by what is arguably the best performance in the illustrious career of James Mason, here playing the leader of an underground Irish rebel organisation, who is seriously wounded when a payroll heist goes sour. Left for dead by his accomplices on the streets of Belfast he's forced to hide wherever he can find shelter and as his gunshot wound gradually drains his life away, his lover (Kathleen Ryan) struggles to locate him before it's too late. Although the IRA and Belfast are never mentioned by name, this film was a daring and morally complex examination of Northern Ireland's "troubles" and the compelling tragedy hasn't lost any of its impact. A study of conscience in crisis and the bitter aftermath of terrorism, this was one of the first films to address IRA activities on intimately human terms. Political potency is there for those who seek it, but the film is equally invigorating as a riveting story of a tragic figure on the run from the law, forced to confront the wrath of his own beliefs in the last hours of his life. It was this brilliant, unforgettable film that established the directorial prowess of Carol Reed, whose next two films (The Fallen Idol and The Third Man) were equally extraordinary. --Jeff Shannon