Saturday, 20 January 2018
School, the workplace, social media... the reprehensible act of bullying today has more outlets than ever before, making Brian De Palma's "Carrie" particularly relevant in
this day and age.
Meet Carrie White (Sissy Spacek): a put-upon high school girl who lives with her religious zealot mother, Margaret (Piper Laurie), and is a prime example of a troubled teen
who must deal with a motley crew of girls and guys.
Carrie befriended by PE teacher Miss Collins (Betty Buckley), who takes this troubled girl under her wing as tampons fly during her first period amidst a throng of cat-calling
teens. It's just as well Carrie has an alternative mother figure in her life as support at home is zero, thanks to her domineering mother who prefers Carrie to be shut away from any potential friends and admirers who may introduce her to real life.
Based on Stephen King's debut novel, De Palma's film cats Sissy Spacek as probably the most naturally beautiful girl in the picture, shy and awkward but with special qualities
to entrance the right suitor.
She also possesses the power to move objects at will; something that's triggered by rage whenever the situation feels threatening to her. Tommy Ross (William Katt) slowly comes to recognise her beauty and her pesonality, when his girlfriend Sue (Amy Irving) persuades him to escort Carrie to the school prom where things go very badly wrong.
The high school shoot is a prime example of De Palma's special brand of filmmaking prowess, beautifully lit with economic use of split-screen photography and tensioncranked up to 11.
The cast - several of whom made their film debuts here - are uniformally excellent, split between the good, the inbetween and the downright ugly, who are all ultimately tarred
by the same brush.
It's certainly a rip-roaring finale, leading up to that famous 'jump' moment that helps make this film such a memorable one.
Arrow Video's Blu-ray release unveils a 4k scan that really shows off the intricate lighting with strong, stable colours.
The extras begin with a commentary track from Lee Gambin and Alexandra Heller-Nicholas.
The pair deliver an informative track, taking in critical reception to the film and addressing accusations of De Palma as a misogynist.Lee talks about Piper Laurie - not first choice for the role - and Alexandra goes into the use of space in this film. King's book, the mythological feel to the prom and De Palma's lighting of his female cast members are just a few of the additional things discussed in this enlightening talk.
Next up is "Acting Carrie" (42m 42s)
This is a 2001 featurette, comprising of interviews with De Palma (who calls this film "one of the great cast experiences"), Amy Irving, art director Jack Fisk and others.
Key scenes are discussed, including the prom and shower scenes.
"More Acting Carrie" (20m 19s)
A continuation of the previous featurette, with input from Nancy Allen, Betty Buckley and William Katt who discuss the script, rehearsals and De Palma's energy.
"Visualising Carrie: From words to Images" (41m 33s)
De Palma, scriptwriter Lawrence D Cohen, editor Paul Hirsch and Jack Fisk discuss the FX shots; Pino Donnagio's wonderful score; the first draft of the screenplay and the famous 'rain of stones scene that was left out of the finished product.
"Singing Carrie:The Musical" (6m 24s)
This is another 2001 featurette, where Cohen recalls how a night at the theatre inspired thoughts of a musical, and Betty Buckley (who played a different character in the stage version) tells how one particular performance went from boos to a standing ovation at the finale.
"Writing Carrie" (29m 7s) 2016
Here, Lawrence D Cohen talks about King's novel, explaining why it was decided not to include that literally heart-stopping scene. He also explains the challenges posed on this production, and there's a great midnight screening story.
"Shooting Carrie (15m 22s) 2016
This is an interview with cinematographer Mario Tosi, who talks about his mix-up approach to lighting this film and about the tools he had back in the day, comparing them to today's ultra high tech world.
"Cutting Carrie" (25m 9s)
A 2016 interview with editor Paul Hirsch, who explains why he was less than enthusiastic about the split-screen device and waxes lyrical on the freedom De Palma gave him.
"Casting Carrie" (16m 3s)
A 2016 interview with casting director Harriet B Helberg, who reveals how Spacek got into character for her screentest; her thoughts on the film and why they were initially unsure about one of the characters.
"Bucket of Blood" (23m 53s)
A 2016 interview with composer Pino Donnagio, who talks about how "Carrie" changed his life and reflects on De Palma, Bernard Herrmann and the challenges posed by the film.
"Horror's Hallowed Grounds" (11m 25s)
A look at the film's original locations, including the pig farm and the high school playing field.
"Comparing Carrie (20m 43s)
A visual essay from Jonathan Bygraves comparing the 3 screen versions of "Carrie": the 1976 original, the 2002 TV film and the 2013 adaptation.
Margaret White's character; the use of telekinetic powers and timelines are just some of the subjects discussed.
The extras are rounded off with an alternate TV opening; photo gallery; trailer; TV spots; radio spots and a "Carrie" trailer reel.
There's also a booklet (which I haven't seen), comprising of new writing on the film by Neil Mitchell, author of Devil s Advocates: Carrie, a reprint of the Final Girls 40th anniversary Carrie zine, and an archive interview with Brian De Palma.
It's so good to see a classic film receive such reverential treatment.
Tuesday, 28 November 2017
"Celine and Julie Go Boating" turned out to be Jacques Rivette's biggest commercial hit, throwing together two women who will ultimately seek to intercede
in a parallel universe that plays out in a Jamesian inspired haunted house.
Magic sweets enable the pair to watch events at the house unfold in a film-within-a-film as Bulle Ogier and Marie-France Pisier become the 'Phantom Ladies Over Paris',
with Barbet Schroeder in tow as the father of a young girl in mortal danger.
In parts, "Celine and Julie Go Boating" is very funny, with the two leads injecting physical comdey into proceedings, while at other times it anticipates Lynch's
"Mulholland Drive" with regard to the doubling experienced by Celine and Julie, and the population of the house who reach into 'the present' with bloody handprints
triggered by scenes from alternate reality.
The end result is a 193 minute feature that fair zips by, begging repeat viewings to fully appreciate all that lies within.
for all time are just a few of the pieces in this puzzle, leading to a most haunting finale.
Rivette's clever use of mirrors which join this world and the next, and use of Montmartre locations to create a magical zone that bends all the rules and reshapes them, as leading ladies trade their lives make this a compulsory purchase for all lovers of Cinema Fantastique.
The BFI Blu-ray was restored and scanned at 2K from the original 16mm frame elements. Image quality is very impressive, unveiling a strong, stable picture that will delight
fans of this film.
The extras begin with a commentary track from Adrian Martin. Adrian provides background to the film; highlights the director's love of theatre and his willingness to take risks; gives valuable information on cast and crew (and quotes from a number of sources, such as Rivette and Berto); talks about various influences on this production; identifies cameos
and puts forward his theories and ideas regarding the onscreen events. It's a wholly rewarding track, and I'd strongly urge you to listen to every minute to increase understanding and appreciation of how much was accomplished here.
Next up, is "Jonathan Romney On Rivette and Celine and Julie Go Boating (19m 17s)
This excellent 2006 video essay takes a look at Rivette's career, and packs in theories and observations about the film, taking in Henry James, silent cinema and the idea that this is a girls own adventure. A valuable addition to the package.
"Tout la Memoire du Monde" (1956, 21m 54s)
Alain Resnais takes us inside the Bibliotheque Nationale in Paris, offering a fascinating look at how books are catalogued and also sharing some of its rare treasures.
We also see the constant battle against the slow decay of papers, books and manuscripts.
"The Haunted Curiosity Shop" (1901, 1m 55s)
WR Booth's 1901 short shows a shop owner plagued by various ghostly forms and includes some rather impressive effects shots.
The BFI also includes a booklet, featuring interviews with Rivette, Berto and Labourier; a review by Tom Milne; Susan Seidelman's reflections on her Rivette-inspired
"Desperately Seeking Susan", and an essay by scholar Jonathan Rosenbaum who is an authority on Rivette.
"Celine and Julie Go Boating" is available to buy now and a strong contender for those best disc of the year lists.
Thursday, 7 September 2017
That wafer- thin line between the living and the dead has been crossed by many directors but few, I'll wager, could walk the walk like Mario Bava. With the sole exception of Lisa And The Devil, Bava had to work with meagre budgets and tight schedules, relying on ingenuity, imagination and those painterly eyes that created some of the most vivid nightmares ever committed to celluloid.
Kill, Baby...Kill! pits science and law against the forces of evil when Dr. Paul Eswai ( Giacomo Rossi-Stuart) and Inspector Kruger (Piero Lulli) arrive at the small Transylvanian village of Kremingen; the latter in response to a letter from one extremely frightened girl who was found impaled on iron railings before Kruger could reach the village. Eswai is asked to perform an autopsy, aided by Monica ( Erika Blanc), an ex-local girl who returns home to find her birthplace gripped by fear. As Bava works his magic, we slowly discover the legend of Melissa Graps (played by a young boy ,Valerio Valeri) , a 7 year old girl who, many years earlier, bled to death following an accident while drunken villagers ignored her cries for help. Now, those who catch sight of her unquiet spirit suffer a similar fate while her mother (Giana Vivaldi) presides over the family villa, surrounded by memories and fueled by hate.Although Bava is often cited as a master of style over substance, Kill, Baby...Kill! is a veritable feast for lovers of the macabre who like nothing better than a tale well told. A frightened coach driver who reluctantly delivers Eswai into a place of evil; terrified villagers who form a wall of silence; a scorceress ( Fabienne Dali', echoing Rada Rassimov's character in Bava's Baron Blood) who uses 'the old ways' to ward off the dead; wonderful mist-shrouded night scenes where a tolling bell signals another impending death.... a familiar storyline with stock characters? To an extent, yes, but even though we're on familiar ground, the soil seems firm and fresh, thanks to Bava's supreme technical skill, coupled with his unerring ability to get under the skin of what really scares us. Here, the spectral figure of Melissa Graps takes centre stage, emerging as one of Bava's eeriest and most imitated creations. This 'bambino diavolo' has inspired the likes of Martin Scorsese (The Last Temptation Of Christ) and Federico Fellini (Toby Dammit, from Spirits Of The Dead), who took note of the images of a child clad in white, emerging from the shadows of half-lit corridors, peering through windows with a malevolent, death-dealing stare or, most chilling of all, perched on a swing, her laughter peeling through the cold night air: wish I had a gold coin (embedded in the heart, perhaps?) for every film that wheels on a child's ball bouncing down the stairs to land at the feet of the living.Melissa's evil mother also succeeds in quickening the pulse rate, at first commanding our sympathy and then moving to the other end of the scale as her part in this story becomes apparent.
In many ways, this is possibly Bava's finest achievement and a film that has stood the test of time. Still scary after all these years.
My DVD review copy from Arrow Video unveils a fine presentation of this film, and I found myself contemplating the long journey to finally seeing this film in pristine condition. I first saw "Kill,Baby...Kill!" on a grainy, 3rd gen video copy and graduated, years later, to DVD. I was also lucky enough to see this film on the big screen at London's National Film Theatre, as part of a Mario Bava retrospective, many moons ago. Arrow's superb presentation really does tick all the boxes here, with interior and exterior shots dripping with atmosphere created by Bava's ingenuity, often bathed in greens and blues that highlight the director's eye for creeping unease which so often reaches fever pitch.
The extras being as they should, with a Tim Lucas commentary track. Tim delivers a wealth of information on cast and crew, going on to talk about the history of some of the locations used, and also where they appeared in other Italian films. He discusses the prevalence of low angle shots, and highlights the many 'twinning' instances in the film. "Forbidden Planet", "Twin Peaks", "Toby Dammit" and "Demons 2" are just a few of the films and shows mentioned in this track, and there are interesting snippets from a telephone interview with Erika Blanc also included. It's a stimulating track, which enriches understanding and appreciation of this film.
The Devil's Daughter (21m38s)
This is an excellent video essay from critic Kat Ellinger, which covers a lot of ground in its running time.
Kat takes a look a gothic literature featuring children - such as "Children of the Abbey" by Resina Maria Roche - goes into child mortality rates in the 17th and 18th century, and offers thought-provoking analysis on child trauma in the family., touching on films and novels which include "The Devil's Backbone", "Don't Torture A Duckling", MR James' "Lost Hearts" and "The Turn of the Screw."
It's a beautifully delivered essay, guaranteed to prompt further reading and viewing from its audience.
Kill, Bava, Kill (25m 2s)
This is an interview with Mario's son, Lamberto, where his formative years are discussed, with golden memories of working under his father's stewardship.
Lamberto also takes us back to the locations used for "Kill, Baby...Kill!" in a nostalgic return to a place where time has stood still for 30 years.
It's an emotional piece, with Lamberto still greatly missing his father and justifiably proud of his achievements.
Erika In Fear (11m)
This is a 2014 interview with the still gorgeous (and very lively) Erika Blanc. Erika ehtuses over Bava's expertise, the lighting and colours used and the amtmosphere he conjured, seemingly at will. It's lovely to see this lady talking about her contribution to a great film, and proclaiming herself "a complete horror fanatic."
Yellow (6m 49s)
Semih Tareen's 2006 love letter to Mario Bava, which begins with a couple sitting down to a game of chess in a garishly lit apartment. What could go wrong? The tension is ramped up in this short film, as familiar tropes surface to delicious effect.
Arrow also provides the German opening titles for the main feature (3m 26s), which provides an early glimpse of Melissa Graps, and a 2m 32s international trailer.
Finally, we get to step through an image gallery comprising of 28 German posters and lobby cards under the title "Die Toten Augen Des Dr. Dracula".
There's also a collectors booklet included (which I haven't seen) which contains new writing on the film by critic Travis Crawford.
Wednesday, 19 July 2017
As with Saxon Logan's wonderful "Sleepwalker" (reviewed elsewhere on this blog), the story of "The Orchard End Murder" will surely strike a chord with aspiring directors and lovers of British Cult Cinema.
Christian Marnham's 49m 43s film was released in 1980, and was screened as support act to Gary Sherman's "Dead and Buried."
Now, almost 40 years later, "The Orchard End Murder" has been resurrected as part of the BFI essential 'Flipside' series, beckoning newcomers and those who caught it first time round.
As well as directing, Christian Marnham also wrote the screenplay which was inspired by a local murder case which came to his attention.
The result is a black comedy with some wickedly funny lines, and also genuinely disturbing in places.
A crane shot of a village cricket game in Kent introduces a stunningly beautiful locale, where Mike Robins (Mark Hardy) romps with new love interest Pauline (Tracy Hyde)
while waiting his turn to bat.
Pauline is very much a city girl and soon becomes tired of her escape to the country, keen to be released from a ritualised setup where familiarity is all.
Her wanderings lead to the railway station where the stationmaster (Bill Wallis) invites her in for tea and cake.
This cosy English tradition is made increasingly disconcerting by the close attention of her new acquaintance, and things come to a head with the arrival of Ewen
(Clive Mantle):house guest of some three months standing who horrifies Pauline with a brutal act.
For a mini-feature running under 50 minutes, "The Orchard End Murder" packs so much into its running time.
First of all, the characters are beautifully drawn and complex. Bill Wallis' station master belies his initial appearance as a simpleton, exhibiting a cool, devious mind and well
capable of talking himself out of almost anything, while Clive Mantle also excels, with Ewen's mentally unstable mind carrying him just short of Buttgereit territory.
Tracy Hyde also delivers an excellent performance as a sexually active female who finds the countryside can be even more of a threat than her beloved towns and cities.
Of course, the graphic murder is hard-hitting in the extreme, but there's plenty of quite wonderful humour to be found elsewhere in the film - do listen out for the side-splitting 'apples' gag - and even the story about the double railroad suicide is told with a twinkle. The location is almost a character on its own, combining beauty with a sense of dark foreboding with the scent of murder hanging heavy in the air.
This really is a small gem, and fully deserving of its place in the 'Flipside' collection.
The BFI Blu-ray presentation unveils a lovely transfer, with the bold, bright countryside colours looking like they were shot last week. Kudos to Peter Jessop's photography
which is beautifully captured by this 2K remaster taken from an original 16mm positive element.
The supplementary feature begin with "The Showman" (25m 45s).
This entertaining short from Christian Marnham tells the story of 63 year-old Wally Shufflebottom. Wally is the 'Last Showman', who gives the public what they really want by devising and staging a striptease knife-throwing act with flames thrown in for good measure.
We bear witness to Wally's methods of drawing in the crowds, how he enlists the girls to participate and the shows themselves.
At the outset, Wally makes some pretty bold claims, but actually keeps to most of his promises to deliver an entertaining show.
"Christian Marnham on The Orchard End Murder". (37m 26s)
Christian recalls his first job (in rep theatre); tells of his progression to the cutting room and how he graduated into television.
We hear about his partnership with Julian Harvey - who suggested doing a film for the cinema - and there's much praise for cast and crew, including Tracy Hyde, DOP Peter Jessop and Sam Sklair who did the score.
Christian is refreshingly honest about mistakes made along the way, and has some good news concerning future projects.
"Christian Marnham on The Showman." (4m 40s)
Christian explains how the idea for "The Showman" began after a chance meeting at a fairground, and talks about his utmost confidence in Wally who emerged as an expert in this dangerous craft.
We're also privy to a huge problem which reared up before the shoot, and the steps that were taken to overcome it.
"From Melody to Orchard End Murder: An interview with Tracy Hyde." (11m 19s
Tracy talks about her career, recalling the Orchard End shoot and "Melody": the film that won her 'Best Actress' in Japan, at such a tender age.
She returns Christian's praise, speaking well of her director and has good memories of the film, even accepting some of the less glamorous aspects of the shoot.
"An Interview with David Wilkinson." (12m 28s)
David recalls how Christian persuaded him to appear as a batsman in Orchard End, and gives a resume of his prolific career.
He talks about his fellow actors in the film; how impressed he was with the production and has some surprising news about the financial result earned by Orchard End.
The BFI includes a booklet with this dual format release, which contains a beautifully written essay from Josephine Botting; a fine piece on "The Showman" by Vic Pratt; colour stills, credits, notes on the transfer and an original review from Tim Pulleine.
"The Orchard End Murder" will be available to buy on 24th July .
Tuesday, 11 July 2017
Based on Charles Neider's novel "The Authentic Death of Hendry Jones", "One-Eyed Jacks" was originally slated for Stanley Kubrick to direct.
Instead, the baton was handed to Marlon Brando for his first and only film as director. Guy Trosper and Brando wrote the screenplay, which turned out to be
a major revision of its source, and the film is now widely regarded as a masterpiece.
Brando himself headlines as Rio; a headstrong apprentice to Dad Longworth (Karl Malden). Together, the pair stage holdups which relieve law abiding folks of cash and jewellery.
Their latest heist - two bags of gold from a bank - sees them chased out of town by Mexican mounted police.
Holed up in the mountains and facing seemingly insurmountable odds, the pair decide one of them will strike out in search of fresh horses after Rio's mount is killed,
leaving the other to wait behind in a perilous situation.
Dad rides off into the sunset, never to return, leaving Rio to be captured with a jail term the result of his trust.
Deprivation of freedom, instigated by a revered friend, must have been a bitter pill that proved impossible to swallow and Rio escapes after 5 years in jail, with a burning desire for revenge.
During the town's annual fiesta, the bank closes for two days,leaving potentially rich picking for Rio and his gang.
Rio soon gets the chance to meet with Dad, who is Sheriff of the town. During one of many memorable scenes, Rio rides out to call on Dad, with the latter resting on his front porch, observing Rio from behind bars reminding Rio of the jail that accounted for 5 years of his life.
There's now a real hatred between the pair, but love soon rears its head as Rio and Longworth's stepdaughter Louise (Pina Pellicer) fall for each other, leaving Rio with a choice to make.
Relationships old and new play a key part in proceedings here, with even Dad and his wife (played by Katy Jurado) clashing over Dad's increasingly cruel behaviour.
Witness the scene where Rio is brutally whipped and has his trigger hand badly damaged by his former friend, making Dad a particularly odious villain, closely followed by Amory and Slim Pickens' sleazy deputy in the forces of evil stakes.
Even Rio has his dark side, and it's fascinating to observe his good and bad splits fighting to hold sway.
Brando quite simply was superb on both sides of the camera, and if one approached this film with no prior knowledge, it would be difficult to discern anything other than the director was a seasoned filmmaker.
While it's true that "One-Eyed Jacks" went over budget - some 5 hours of footage no longer exists - the end result is a treat for the eyes, with Brando's wait for magic hour shots and the right kind of waves paying dividends.
Here, the photography of Charles Long Jr uses deep focus shots and panoramic sweep to capture cast and scenery in exemplary fashion.
This was the last Paramount film to be shot in Vistavision, and we must be thankful that Martin Scorsese and Steven Spielberg made this stunning restoration possible, banishing previously inadequate home video versions.
Aspiring actors and directors would do well to study this film, while the rest of us will be enthralled while possibly regretting this was Brando's only time in the director's chair. Maybe his standoff with Paramount regrading the ending left a bitter taste that wouldn't wash away?
Whatever the reason, he certainly made his mark as an accomplished director and his film remains one of the great Westerns.
The 4K rstoration on Arrow Academy's Blu-ray presentation is, along with "Bring Me The Head of Alfredo Garcia", one of this year's best.
Interior and exterior scenes boast fine detail, warm colours and, at times, are simply breathtaking.
The supplementary features begin with a commentary track from author Stephen Price who wrote "Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies."
Stephen picks out Peckinpah's influence on the script; draws comparisons with other westerns; talks about the revised ending and praises Brando's meticulous approach to filming. It's an enjoyable, highly informative track.
"Marlon Brando: The Wild One." (53m 43s)
This documentary was originally broadcast by Channel 4 on 11th August, 1996. Martin Sheen, Dennis Hopper, Shelley Winters, Francis Ford Coppola and Arthur Penn
are just some of the artists interviewed in this valuable tribute to Brando.
The actors studio, early stagework and just what it was like to be touched by Brando's brilliance are all discussed, with clips from the likes of "On The Waterfront",
"A Streetcar Named Desire" and "Last Tango In Paris". Paul Joyce's absorbing documentary is required viewing for all Brando buffs, with great stories and insight from those who were there when the magic happened.
"Francis Ford Coppola on Marlon Brando." (48m 30s)
Paul Joyce interviews Francis, who talks about a genius he rates alongside Welles and Kurosawa, and who left a legacy for actors everywhere.
We hear about how Brando landed the "One-Eyed Jacks" gig and of course, there's plenty of insight and anecdotes regarding "The Godfather". Coppola had a tough battle to
add Brando to his fine cast, and goes into the trials and tribulations of coming up against a stubborn film company.
"Arthur Penn on Marlon Brando>" (44m 49s)
Once again, Paul Joyce takes the microphone for another interview. As with Coppola, his Arthur Penn interview was recorded for the documentary, comprising of familiar material with plenty of additions. Brando's work with Stella Adler; his improvisational skills regarding the intent of words and the first time Penn saw Brando at work are just some of the areas discussed. It's also well worth a second hearing regarding Penn's ice cube story and Coppola's 'gong' gag.
There's also a 2m 55s introduction to the film by Martin Scorsese, and a 4m 44s trailer.
Arrow includes, on this first pressing only, a collectors booklet (which I haven't seen) containing new writing on the film by Jason Wood and Filippo Olivieri; Karl Malden on Marlon Brando; Paul Joyce on "Marlon Brando: The Wild One" and an excerpt from Stefan Kanfer's "Somebody: The Reckless Life and Remarkable Career of Marlon Brando."
"One-Eyed Jacks" is available to buy now, and a surefire contender for those 'Discs of the Year' lists.
Tuesday, 20 June 2017
The events that allegedly took place at 112 Ocean Avenue have inspired several films, documentaries, books and many thousands of column inches.
What is beyond dispute is the house played host to bloody murder when Ronald Defeo Jr armed himself with a shotgun and killed five members of his family. Defeo was subsequently incarcerated and the house lay empty for a short while. Or did it?
The house was put on the market for the knockdown price of $80,000, prompting George and Katy Lutz to take the plunge.
Their stay lasted just 28 days, with the family fleeing on 14th January 1976, never to return.
Before long, unexplained events occur, involving the family and a local priest who becomes convinced that dark forces are present in the house.
Director Stuart Rosenberg chose to ground some of his film on the Lutz's claims, and used poetic license to fuel the rest. The result was an enormous commercial success, giving audiences a scary ride through all manner of tried and trusted shenanigans.
The fun begins early on, when Father Delaney (Rod Steiger) arrives to bless the house and is plagued by an unseasonal swarm of flies and told top leave the house by a demonic voice.
The Lutz family soon experience terrifying manifestations, with George - apparently a 'dead ringer' for Defeo - undergoing frightening shifts in his personality, with several episodes suggesting possession by an unclean spirit.
Kathy and her children also encounter strange phenomena, including glowing eyes looking into an upstairs window and a most upsetting episode regarding a window sill that slams shut on tiny fingers all by itself.
While there are times when proceedings enter the realms of the absurd, Rosenberg mostly manages to keep things sensibly scary, aided by a deliciously eerie score from Lalo Schifrin and a cast that certainly entered into the spirit of things.
Did the Amityville house really play host to a demon, or was the whole thing a giant hoax?
112 Ocean Avenue was actually built on an old indian burial ground and if you believe in the dead returning to life, that fact may well convince you that the Lutz's stories were true.
Whatever, you'll surely wish to check out the supplementary material on Second Sight's Blu-ray.
The Blu-ray presentation here is crisp and detailed, leaving viewers with an impressive home viewing experience.
First off on the extras front is a commentary track from professor Hans Holzer; a parapsychologist who was one of the first people called to the house when the Lutz's left.
Hans talks about exorcisms, hypnosis, religion, draws on the history of the house which dates back to 1928, and the grounds it was built on.
He points out no-one in the house heard the shots as Lutz went about his rampage (nor did the neighbours) and discusses the case.
He also has some interesting theories on ghosts and demons. It's a thought-provoking track, though many will disagree with some of his ideas.
"Brolin Thunder" (16m 1s)
A new interview with James Brolin who recalls "Mutiny On The Bounty"; his 7 years with Fox and "Marcus Welby MD". Stuart Rosenberg, Margot Kidder and Lalo Schifrin also
crop up in the conversation.
"Child's Play" (16m 39s)
Meeno Peluce chats about his fellow child actors in the film, and remembers he'd just finished filming on "Don't Go Near The Park" when Amityville came up.
He displays mostly excellent recall about the shoot and do listen out for his Margot Kidder story!
"Amityville Scribe" 16m 27s)
This is an interview with screenwriter Sandor Stern, who recalls how and why he was hired to do a script re-write.
Sandor shares his thoughts on the film, and relates his own experiences with the supernatural.
"The Devil In The Music" (14m 5s)
Here, Lalo Schifrin goes through his early musical influences; recalls his work on such films as "Dirty Harry" and "Enter The Dragon" and chats about Amityville,
explaining he understood perfectly what the director wanted.
"My Amityville Horror" (85m 11s)
Directed by Eric Walter, this is an extraordinary view of the world inhabited by Daniel Lutz, whose siblings refused to take part in this documentary
Daniel stands by his account of what took place at the house as a psychologist, demonologist's Ed and Lorraine Warren and trusted reporter Laura Didio file in to contribute.
After watching this, I was no nearer arriving at a conclusion regarding the truth surrounding the Lutz's tenancy, but it is completely engrossing.
One of the stories that often crops up is that George Lutz collaborated with William Webber (Defeo's lawyer) to dream up a convincing hoax: an insanity plea for his client, and a cash-in for Lutz could have been their targets? While it's an undisputed fact that none of the subsequent tenants of 112 reported any manifestations, it seems likely to me that Lutz really does believe his own version of events. If he is lying, why did he wait decades to give his own version of events? Perhaps George and Kathy took the real truth to their graves?
"For God's Sake Get Out" (20m 41s)
This comprises of separate interviews with James Brolin and Margot Kidder who talk about how they first got into acting; about the publicity behind the film, and reveal their was some tension between the pair.
The extras are rounded off with a trailer (2m 30s); a TV spot (1m2s) and two radio spots (3m40s).
There's also a 1m 18s introduction to the film by Hans Holzer.
"The Amityville Horror" will be available to buy on 26th June. The legend surrounding this film shows no signs of going away, and this Blu-ray disc will delight those who have followed this story.
Saturday, 10 June 2017
The BFI's 'Flipside' collection of films continues to mine the archives, enabling us to view hidden gems; some of them barely seen for several decades.
Maurice Hatton's "Long Shot" is one such film, shot in 1977 and thrust into the home video spotlight some 40 years later.
"Long Shot" is a film about filmmaking; not the arduous process of shooting and editing, but rather the wheeling and dealing that goes on to secure finance and a name director.
We're in Edinburgh, with the world's oldest film festival drawing a wonderful carnival of actors, directors and audiences to this historic city.
Charlie Gormley and Neville Smith are producer and scriptwriter for "Gulf and Western": a film about the Scottish oil industry, which they hope Sam Fuller will direct.
Fuller is expected to be in town for the premiere of Wim Wenders' "The American Friend", and Charlie is confident Fuller's recruitment will seal the deal with regard to the supremely difficult task of raising finance for his project.
It's a serious business to be sure, but "Long Shot" is peppered with sharp humour; much of it centered round guest appearances from the type of name director they are desperate to enlist.
Stephen Frears takes the biscuit in a lovely cameo, and Alan Bennet appears as Nev's doctor, facing an acute case of the loneliness of the scriptwriter.
Throw in Susannah York - a distinct possibility for an underwritten part - and you have a lively cast all relishing the game.
Yet more humour is delivered with improvised taxis ferrying the hapless producer from pillar to post, yet with the sobering thought that creative control ebbs away with each and every mile.
Does Fuller ever show up? You'll have to experience this film to find out, but this is a glorious slice of on-the-hoof filmmaking, displaying initiative and enterprise and a love of cinema every bit as prounced as the festival that serves as its backdrop.
The BFI Blu-ray presentation has been scanned in 2K resolution using the original 16mm negative.
Because this low budget film was shot with mainly expired film stock, the image and grain structure are very inconsistent but this is what was originally intended.
All in all, you can be sure this is how the film should look.
The extras begin with "Scene Nun, Take One" (25m 57s)
This 1964 quickie, directed by Maurice Hatton, sets Susannah York as an actress storming off set, and thoroughly enjoying her newfound freedom.
A bank heist and a fashion show are just two of her adventures as, kitted out in full nun regalia, York rally goes out on the lam, culminating in an impromptu dance with two buskers before a delighted audience. Great fun!
"Sean Connery's Edinburgh" (29m 13s)
Made in 1982, Connery's journey through Edinburgh begins in up-with-the-lark mode as early morning milk carts wake a city from its slumbers.
Here, Connery invokes the spirits of Robert Burns, Queen Mary, Alexandra Graham Bell and, of course, Ian Fleming.
The growth of Edinburgh's new town is recorded; golf inevitably rears its head (going back to a time when both golf and football were banned in the city) and the cultural significance of this historic town is lovingly showcased.
"Hurray For Hollyrood" (39m 49s)
This 1986 production makes for a great companion to the main feature, bringing in Neil Jordan, Bill Forsyth, Stephen Frears, Sam Fuller and also includes memories from former Edinburgh film fest directors, including Lynda Miles.
We learn how the festival began - primarily screening documentaries at first - and how it evolved into a truly prestigious event. There's also the lowdown on the infamous "Bloody Mama" controversy, and clips from former fest faves include "Two Men and a Wardrobe", "This Sporting Life" and the wonderful "That Sinking Feeling."
An informative booklet is included with this dual format release, covering the film and additional features, containing new writing from Bill Forsyth, Dylan Cave (BFI)
and Vic Pratt (BFI).
"Long Shot" will be released on 26th June. For me, it's this year's nicest surprise.