David Nash

The Guard -- An Irish policeman joins forces with a strait-laced FBI agent to take down an international drug smuggling gang in Ireland.

A wily, subversive Irish cop finds himself at hilarious odds with a straight-arrow American FBI agent when his quiet seaside village becomes the center of a drug smuggling investigation. A biting comedy.

An Irish policeman joins forces with a strait-laced FBI agent to take down an international drug smuggling gang in Ireland.

Sergeant Gerry Boyle is an eccentric small-town cop with a confrontational and crass personality and a subversive sense of humor. A longtime policeman in County Galway, Boyle is a maverick with his own moral code. He has seen enough of the world to know there isn’t much to it and has had plenty of time to think about it. When a fellow police officer disappears and Boyle’s small town becomes key to a large drug trafficking investigation, he is forced to at least feign interest when dealing with the humorless FBI agent Wendell Everett assigned to the case. Left to run his territory to his liking for many years, he is not at all impressed when the FBI comes to town.

THE GUARD is a comedic, fish out of water tale of murder, blackmail, drug trafficking and rural police corruption. Two cops (Gleeson and Cheadle) one an unorthodox Irish policeman and the other, a straitlaced FBI agent, must join forces to take on an international drug-smuggling gang.

Arthur Goldman (Maximillian Schell), a Jewish businessman living in 1965 Manhattan, is kidnapped by a group of Israeli underground agents who put him on trial as a Nazi war criminal. Goldman protests and claims he was actually a Holocaust victim. But he soon begins to revel in the notion that he is, in fact, the man they've been hunting and it's not a misunderstanding. This is an American Film Theatre adaptation of Robert Shaw's play.

Millionaire Jewish entrepreneur Arthur Goldman (Maximilian Schell) benevolently rules his financial empire from a penthouse apartment overlooking Manhattan. Seemingly at the edge of sanity, Goldman holds forth on everything from Papal edicts to ex-wives, from baseball to his family's massacre in a Nazi concentration camp. When Goldman remarks on a blue Mercedes continuously parked outside his building, Goldman's captive audience of assistant (Lawrence Pressman) and chauffeur (Henry Brown) dismiss their boss' anxiety as encroaching paranoia. But each of Goldman's passionate, seemingly capricious ravings are transformed into a shocking, inadvertent deposition when Israeli agents capture Goldman and put him on trial as Adolph Dorf, the commandant of the concentration camp where Goldman's family was supposedly exterminated.