David Warrilow

Acting

David Warrilow

Born — Died

1934-12-28 — 1995-08-17

Known for

Acting

Credits

14 titles

Known for

Film credits

1990s · 4 titles

1980s · 8 titles

Bright Lights, Big City poster
5.7

A disillusioned young writer living in New York City turns to drugs and drinking to block out the memories of his dead mother and estranged wife.

Bright Lights, Big City

1988

Radio Days poster
7.0

The Narrator tells us how the radio influenced his childhood in the days before TV. In the New York City of the late 1930s to the New Year's Eve 1944, this coming-of-age tale mixes the narrator's experiences with contemporary anecdotes and urban legends of the radio stars.

Radio Days

1987

Milan noir poster
9.0

The story of a woman whose past comes back to haunt her after a former lover re-enters her life.

Milan noir

1987

La Ferdinanda. Sonate für eine Medici-Villa poster
10.0

No synopsis available yet.

La Ferdinanda. Sonate für eine Medici-Villa

1981

Strong Medicine poster
6.3

Adaptation of an avant-garde play about Rhoda, a hysterical heroine who feels oppressed by the people around her. She suffers through her birthday party, goes to see a doctor, plans a vacation, argues a lot and even breaks the fourth wall.

Strong Medicine

1981

Samuel Beckett: Silence to Silence poster
NR

The elusive author of Waiting for Godot cooperated in the production of this portrait, which traces Beckett’s artistic life through his prose, plays, and poetry. Billie Whitelaw, Jack McGowran, and Patrick Magee—Beckett’s great dramatic interpreters—appear in selected extracts from the plays; Beckett specialist David Warrilow narrates a variety of texts.

Samuel Beckett: Silence to Silence

1984

Simon poster
6.3

A group of scientists take Simon, a psychology professor, as a test person for a brainwashing experiment and try to convince him that he is a living being from another planet.

Simon

1980

Łódź Ghetto poster
8.0

The Polish city of Łódź was under Nazi occupation for nearly the entirety of WWII. The segregation of the Jewish population into the ghetto, and the subsequent horrors are vividly chronicled via newsreels and photographs. The narration is taken almost entirely from journals and diaries of those who lived–and died–through the course of the occupation, with the number of different narrators diminishing as the film progresses, symbolic of the death of each narrator.

Łódź Ghetto

1989