Blu-ray Review: Carrie (Arrow Video)

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.

The offending party is headed by Chris Hargensen (Nancy Allen) and Billy Nolan (John Travolta), with PJ Soles and cohorts adding their support to a most unsavory project.
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.

"Carrie" has certainly stood the test of time, emerging as one of the very best King adaptations and a most worthy inclusion in Horror's Hall of Fame.

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.

DVD Review: Kill, Baby...Kill! (Arrow Video)

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.

Blu-ray Review: The Bird With The Crystal Plumage (Arrow Video 2017)

Shot in 1969 and released the following year, Dario Argento's debut feature inspired filmmakers to don black gloves, sharpen their knives and enter the bloody arena of giallo cinema.
The late, great Mario Bava had already kicked things off almost a decade earlier with "The Girl Who Knew Too Much", but it was "The Bird With The Crystal Plumage" that really kickstarted this movement.

Here, Tony Musante plays Sam Dalmas, an American writer who arrived in Rome 2 years earlier, in search of tranquility and inspiration.
After exhausting the sights of this wonderful city, Dalmas signs off a book on the preservation of rare birds - anticipating an important discovery later in the film - written purely for commercial gain, rather than a burning interest in the subject matter.
Dalmas is walking back to his apartment one night when he witnesses a beautiful woman who appears to be stabbed by a black clad figure inside an art allery.
Dalmas finds himself trapped between two glass doors, and when the police arrive, the assailant has taken flight, leaving the victim with a serious but not life-threatening wound.
Sam is interviewed by the police, who link this assault to a trio of slayings that have terrified the city's inhabitants and has his passport confiscated in the hope he will be of further assistance. After going through events several times, Sam is troubled by an incomplete vision of exactly what happened. Something doesn't quite make sense, and the question of what we see and what we think we see would become a recurring theme in Argento's cinema.

Although "The Bird With The Crystal Plumage" was not well received at the start of its life, the film went on to garner acclaim from audiences and critics and is, I believe, top-tier Argento.
With a score from Ennio Morricone that sets the scene beautifully, weaving the upbeat with the eerie, and inspired camerawork by Vittorio Storaro, "The Bird With The Crystal Plumage" offers a delicious twist-and-turn plot, several exciting set pieces and a cast reacting well to a screenplay that's both gripping and punctuated with humour.
Musante excels, leaving his mark as one of Argento's best leads, his performance unaffected by the various tensions that were present between actor and director.
Enrico Maria Salermo makes for an engaging police inspector; Eva Renzi and Suzy Kendall handle their duties with aplomb, and watch out for two contrasting quickies: a gripping sequence involving Reggie Nalder, and a memorable meeting with Gildo Di Marco's pimp who makes us laugh with his 'So Long' character.
It's a wholly entertaining ride, shocking in places and thought provoking always.
Those of you unfamiliar with Argento's work will find this an excellent starting point, while 'old timers' will once again relish this landmark film.

My first encounter with this film came via a Betamax videotape, released, I think, on the Stablecane label, and cost me the princely sum of £40.
Arrow Video's release unleashes a 4K restoration from the camera negative in its original 2.35:1 aspect ratio, that boasts exquisite detail.
The supplementary material begins with "Black Gloves and Screaming Mimis" (31m 54s).
This is an excellent video essay from film critic Kat Ellinger, who manages to pack in a wealth of material. Kat explores Frederic Brown's novel "The Screaming Mimi", offering a detailed breakdown of book vs film, and covers the 1958 film "The Screaming Mimi" starring Anita Ekberg.
Impotency and gender are also covered in an enlightening essay that's beautifully delivered.

"The Power of Perception" (20m 57s)
This features the thoughts of Alexandra Heller-Nicholas, who reflects on the role of art and the theme of perception in Argento's films.
"Four Flies On Grey Velvet", "Tenebrae" and "Phenomena" - a key example of heightened perception - are just a few of the films covered, together with "The Stendhal Syndrome" which Alexandra labels his last great film. Once again, it's a stimulating essay, underlining the many comlex themes at paly in Argento's work.

"Crystal Nightmare" (31m 24s)
This is a new interview with Dario Argento, shot in 2017.
Dario talks about how Plumage was written after a trip to Tunisia, and explains why he was almost fired during the shoot.
We get plenty of background info regarding the making of this film, including the lowdown on the director's experiences with Tony Musante, together with memories of working with Morricone, Storaro and Reggie Nalder. We also learn about which city held the key to Argento's future career. Fans will enjoy this recent interview with the great man.

"An Argento icon" (22m 5s)
Here, actor Gildo Di Marco recalls his role of 'So Long' (Garullo, the pimp), explaining how he got into acting and of Argento's way of working with actors.
We are also privy to his memories of Musante and Storaro and his amazement that people ask him for interviews.
It's a joy to witness this humble man discuss his own involvement in a film that still delights almost 5 decades on.

"Eva's Talking" (11m 19s)
This is an interview with Eva Renzi, recorded in 2005. Eva talks about her career (including "Funeral In Berlin"); Klaus Kinski and Tony Musante also crop up in conversation and she's not shy on holding forth about what she really feels about Plumage and the effect she thinks it had on her career.

Last, but by no means least, we have an audio commentary track from author Troy Howorth.
Troy delves into Argento's background; enthuses over Musante's performance; talks about "The Screaming Mimi " book; Krimi films; how "The Bird With The Crystal Plumage evolved and still finds time to cover Reggie Nalder's involvement (who apparently passed on a role in one of Argento's most famous films) and Argento's fallout with Morricone.
It's an excellent commentary, beautifully delivered with a fair amount of humorous asides that reflect the playful moments in the film.
Arrow also includes a trio of trailers: Italian (3m 11s), International (2m 48s) and Texas Frightmare 2017 (55s).

The final extra comes in the form of a 60-page booklet (which I haven't seen), illustrated by Matthew Griffin, featuring an appreciation of the film by Michael Mackenzie, and new writing by Howard Hughes and Jack Seabrook.
This is a compulsory purchase for Argento buffs, and highly recommended for newbies curious to see what all the fuss is about.
"The Bird With The Crystal Plumage" will be released on 26th June

Blu-ray Review: Five Dolls For An August Moon (Arrow Video)

Mario Bava's "Five Dolls For An August Moon" (1970) was deemed to be his worst film by none other than the great man himself.
I respectfully disagree with this brutally frank opinion, as Dolls is a showcase for Bava's artistry and ingenuity.
Mario became involved with the project as a 'gun for hire', replacing the original helmsman, and was immediately confronted with a script he labelled as a joke.
The screenplay was loosely based on Agatha Christie's "Ten Little Indians" and though it's the weakest aspect of the film, what it does do well is to help generate some tense scenes.

The story concerns the formula for a new type of industrial resin, pioneered by Professor Gerry Farrell (William Berger).
The inhabitants of a remote island retreat anticipate a weekend of relaxation with some hard-nosed business at the top of the agenda. The Professor's formula attracts very lucrative offers from a trio of likely lads who seek possession of this valuable information.
Farrell's wife Trudy (Ira Furstenberg); sex kitten Marie (Edwige Feneche); wife-slapping, womanising George (Teodoro Corra) and Jack (Howard Ross) are all part of a group whose chances of survival grow slimmer by the minute, amidst the greed and deception.

Following a hoax stabbing, the real slayings begin, with a series of murders committed off-camera: presumably a directorial protest against the material he was given to work with.
This one really is a dry run for "A Bay Of Blood", with a large dose of the experimental at play, amidst amazing glass matte paintings and other ingenious compositions to give your 'pause' button a real workout.
Check out the crystal balls tumbling down a staircase, straight into a bathroom that plays host to another dead body; the scenes where the recently departed hang in a freezer beside real slabs of meat; the camera setting up the cast by zooming into their eyes, only to find an emptiness that matches their very souls, and a shot involving a scarf that demands repeated views.
While Bava couldn't fix the screenplay, he could push himself to create and solve visual problems which ensured Dolls is a stimulating affair, with Piero Ulmiliani's score matching the director's vision and innovative style.
Antonio Rinaldi's cinematography - shot under the watchful eye of his director - captures and contrasts cold interior beauty with the picturesque outdoor setting, with colours that really pop in Arrow Video's strong Blu-ray presentation.

Dolls is a worthy addition to Arrow's Mario Bava Collection; middle-tier Bava at best, but fascinating nonetheless.
The film is accompanied by a Tim Lucas commentary track, which begins with the assertion that "Five Dolls For An August Moon" was misunderstood by its own director.
Tim tlaks about the use of paintings in the film; the soundtrack -"one of the greatest scores Bava ever worked with" - and he discusses the director's craftmanship. Tim also compares certain scenes to other Bava films, such as "Kill, Baby...Kill!", "Danger:Diabolik" and "Planet Of The Vampires".
Those of us pondering the identity of the original director of this film will be intrigued by Tim's theory.
Another top-notch commentary from - for my money- the best in the business.

Fans of the excellent score will be pleased by the inclusion of a music and effects track, and there's also a documentary to savour.
While seasoned Bava buffs will undoubtedly have already seen "Mario Bava: Maestro Of The Macabre", it's easily worth repeat viewings, and newcomers will find it essential.
Here, we get input from the likes of Alfredo Leone, Sam Arkoff, Joe Dante, Tim Burton, John Carpenter, Carlo Rambaldi and Tim Lucas, while Mario's family are represented by son Lamberto, grandson Roy and granddaughter Georgia.
There are clips from "Baron Blood", "Black Sabbath" and "Black Sunday" to name but a few, and an abundance of insight and anecdote covering the great man's career.
There's also a collectors booklet featuring new writing by Glenn Kenny, and a new essay by Adrian Smith on the Fancey family and their efforts to deliver foreign exploitation titles to the UK during a three decade period.
"Five Dolls For An August Moon" is a Region B release, and available to buy now.

Blu-ray Review: What Have You Done To Solange? (Arrow Video)

There's a lot to enthuse over with regard to this 1972 giallo gem. So much so, that it's hard to know where to begin.
Let's start with the character of Herta Rosseni, played by Karin Baal.
For the first half of the film, Herta - a teacher at London's St Mary's College For Girls - comes over as a dowdy, ice-cold wife who suspects husband Enrico (Fabio Testi) is having an affair. After her suspicions are confirmed, Herta is transformed into a radiant spouse who not only stands by her man, but joins him in the search for a sadistic killer who preys on targets from St Mary's. Enrico, also a teacher at the school, was having an affair with a girl named Elizabeth (Christine Galbo) and their clandestine meeting on a boat is uncovered by Inspector Barth of Scotland Yard, played by Joachim Fuchsberger.

Barth is on the trail of a killer who is responsible for the death of a young girl, and the crime - committed on the banks of the River Thames - was witnessed by Elizabeth whose memory is somewhat hazy.
As the girl attempts to recall missing details, Enrico fights to save his marriage and his reputation while the murders continue.

The theme of incomplete memory, where the whole picture is tantalisingly out of reach, has figured in many gialli - witness the big hitters from Dario Argento - and a black-gloved killer who constructs a string of gruesome murders is front and centre here as we join up the dots en route to his/her identity.
The bloody aftermath of the slayings will doubtless remain in your memory long after the haunting, thought-provoking final frame, frozen for all time, and there's also a very disturbing scene involving the titular character (played by Camille Keaton) who eventually arrives on the screen with a tragic back story.

The film as a whole is beautifully constructed, playing with our emotions and altering perception of the main players. It's very much a film about relationships; about how people can change and how they react to extreme situations.
It's stood the test of time so very well, set to a striking score from Ennio Morricone and blessed with fluid photography by Aristide Massaccesi. Director Massimo Dallamano's 'schoolgirls in peril' giallo can now be savoured by a new generation of admirers, thanks to Arrow Video's Blu-ray presentation.

The film can be viewed with Italian or English on-screen titles and audio. Subtitles and audio can be independently configured via the setup menu.
Image quality is excellent,courtesy of a brand new 2K resoration of the film from the priginal negative.
The commentary track on the impressive list of extras may well be your first port of call.
This is another informative and entertaining outing for the winning team of Alan Jones and Kim Newman who hold forth on the cast, locations, production history and themes contained in the film.
We hear about Dallamano's skewed visions of London; the composition of the widescreen photography; Robertson's Jam; symbolic art direction; Edgar Wallace titles; the rather odd ending and the idea of a giallo walking tour of London!
Always a real pleasure to listen to this pair.

"What Have You Done To Decency?"
A 13m 38s interview with Karin Baal, which took place in Berlin in October 2015.
Karin discusses her love scene with Testi; Camille Keaton's bad experience during filming and her own opinions and verdict on the film as a whole. You may be surprised by some of the things Karin has to say.

"First Action Hero" (21m 17s)
Filmed in Rome in 2006, this is a fascinating interview with Fabio Testi, who discusses his 8 years as a stuntman and his subsequent elevation into the world of straight acting. He talks about Enzo Castellari, Lucio Fulci and Dallamano, who he remembers as a highly skilled director who ran a well organised shoot.
Testi also talks about his varied roles, explaining he liked to mix things up to avoid being pigeon-holed.

"Old School Producer" (11m 2s)
Also filmed in Rome in 2006, this is an interview with Fulvio Lucisano who talks about Massaccesi's photography and Dallamno's career.

"Innocence Lost" (29m)
Another informative video essay from Michael Mackenzie, who uses video clips from Solange and its two semi-sequels, together with footage from "Don't Torture A Duckling" and "Who Saw Her Die?".
He discusses child gialli and observes the themes presented in the aforementioned films.
Sterling work from a true expert in the field.

The disc is rounded off with a 3m 5s trailer, and the extras conclude with a booklet which contains an article on the giallo scores of Morricone by Howard Hughes; a Cammile Keaton career retrospective by Art Ettinger and original archive stills and posters.
Arrow's disc is regions A/B and comes highly recommended.

Blu-ray Review: Edgar Allan Poe's Black Cats (Arrow Video)

Lucio Fulci's 1981 feature "The Black Cat" was sandwiched in the middle of "City Of The Living Dead" and "The Beyond": a rather dull interlude between two cult classics or an underrated gem deserving of some long overdue love?
Loosely based on Edgar Allan Poe's story, "The Black Cat" opens with a fiendish feline apparently inducing the driver of a car to let go of the steering wheel and crash.

The setting is a sleepy English village where the local population experiences a decline in mortality rates, with the titular creature involved in a series of grisly deaths and violent attacks.
A young couple suffocate in a remote boathouse after being locked in; a man falls to his death, impaled on a spike and a Scotland Yard hotshot (David Warbeck) - sent to investigate the disappearance of the aforementioned lovers - is viciously clawed by the four-legged demon.
While there isn't the level of gore found in Fulci's splatter classics, "The Black Cat" is still a bloody affair, and Sergio Salvati's prowling camera records some eerie, atmospheric scenes: check out Patrick Magee's deranged Professor Robert Miles,who roves through a mist-shrouded graveyard, microphone held up against tombstones, hoping to communicate with the dead. It's a great idea - unfortunately not expanded on - and remains one of this film's most stimulating moments.

A real shame, then, that Biagio Poietti's script misses the opportunity to deliver a truly arresting supernatural tale that advances on some interesting ideas. For all that, "The Black Cat" boasts several compelling set-pieces, played out by a solid cast that includes Mimsy Farmer as an American tourist charged with photographing dead bodies; Dagmar Lassander as the mother of the missing girl (played by Daniela Doria) and Al Cliver filling the role of a police sergeant. There's also a terrific Pino Donaggio score to savour.

"The Black Cat" is presented with English and also Italian on-screen titles and audio and subtitles can be independently configured via the set-up menu.
Image quality is very strong, banishing memories of previous Home Video incarnations, with strong colours and vivid detail.
You may decide to commence the impressive selection of extras by listening to Fangoria's Chris Alexander who takes the microphone for a commentary track. Chris is a huge Fulci admirer and makes a strong case for a re-evaluation of this film, while admitting it's far from being the maestro's finest work. He talks about David Warbeck's career; Magee's performance; other adaptations of Poe's story; the things that give Fulci's films their soul and proclaims Mimsy Farmer to be "a bit of a limp handshake as a female lead." An enjoyable, if at times controversial chat.

Next up is Stephen Thrower's video essay "Poe Into Fulci: The Spirit of Perverseness". (25m 37s)
Here, the author of a fabulous book on Fulci looks at Poe's story; explains the bouncing bed scene was not Fulci's idea; highlights a previous pan-and-scan video release and gives us the lowdown on the absence of a Fulci cameo.
Perhaps, most importantly of all, Stephen presents a compelling case that "The Black Cat's" time is now, believing that many Fulci devotees overlooked this film in the midst of what was a golden age for the director. Stephen's analysis spells out that "The Black Cat" was cut from the same cloth as his more successful films and viewing the film again, it's hard to disagree.

"In The Paw-Prints Of The Black Cat" (8m 28s)
Stephen Thrower returns to take us on a guided tour of some of the locations used. The village of Hambledon UK was used for the shoot, and it's interesting to watch Stephen literally following in the footsteps of some of the cast, and visiting the famous Hellfire Club which was used for the macabre crypt scenes.
This documentary was made on the 34th anniversary of the day shooting commenced on Fulci's film.

"Frightened Dagmar"
This is a 20m 12s video interview with the wonderful Dagamar Lassander, who talks about her debut feature; explains how Artur Brauner offered her two further roles; shares memories of Mario Bava, Ricardo Freda and Laura Betti; chats about nudity in films, then and now, and explains why she gave up acting.
This is a prime example of the value of physical media against the soulless streaming process, devoid of added value.

"At Home With David Warbeck" (1 hr 10m 20s)
A priceless video interview, shot at David's home in Highgate and conducted by Stephen Thrower in 1995. David had so many stories to relate, ranging from working with Catriona MacColl - "a golden girl" - to Anthony Quinn and, of course, Lucio Fulci who possessed " a wicked sense of humour."
We hear about David's approach to acting; his thoughts on real-life horror vs fantasy filmmaking and also censorship.
David, who passed away in 1997, is still sadly missed, not just by those he worked with in the industry but also on the fan circuit where he was always a courteous and enthusiastic participant.
The extras are rounded off with a 3m 1s theatrical trailer and you'll have heard Stephen discussing one of the clips elsewhere on this disc.

Disc 2 of this special edition moves from a film in search of reappraisal to one that has never had any trouble finding an appreciative audience: Sergio Martino's "Your Vice Is A Locked Room And Only I Have The Key"

Mario Bava and Dario Argento are two names that invariably crop up when Giallo's are discussed: the former blazing a trail with "The Girl Who Knew Too Much", while Argento weighed in with "The Bird With The Crystal Plumage", lighting the fuse for a host of directors to follow.
Sergio Martino is another important director when it comes to those mutli-layered, utterly compelling thrillers and "Your Vice Is A Locked Room And Only I Have The Key" is right up there with his very best work.
The film's title is taken from a letter seen in Martino's "The Strange Vice Of Mrs Wardh", and once again, a black cat is in residence, this time bearing the name of 'Satan.'

The Villa Rouvigny, in a peaceful Veneto town, is the setting for this sexually subversive tale of lust, deception and murder with married couple Oliverio and Irene (Luigi Pistilli, Anita Strindberg) right in the centre of a bloody, tangled web.
Oliverio, a washed-up, drunken ex-writer who hasn't been able to write a sentence in years, is given to entertaining a local hippie group with decadent parties, while mourning the loss of his mother. The deceased Countess casts a long shadow over proceedings in what could be termed a battle between the living and the dead, while Irene is forced to act as an accomplice to murder.
The two leads are particularly impressive: Pistilli immersing himself in the lurid atmosphere, while Strindberg's cold-eyed beauty drags her complex character from one shock to another in a film with no likeable characters.
Edwige Feneche - taking the role of Oliverio's niece - enters this circle of sex and deceit, bedding both husband and wife, portraying a truly wicked woman for the first time in her career.
She plays her hosts off against each other beautifully, even finding time to speculate it's entirely likely that Oliverio may well have slept with his mother.
It's plausible that, in this disquieting place where anything can happen, the Countess' beloved Satan is possessed by his former owner: just another pattern on an already rich tapestry of stylish murders and plot twists.
A true classic of the genre, and fully deserving of the reverential treatment it receives here.

As with "The Black Cat", "Your Vice" benefits from a 2K scan and looks very crisp, with strong colours and an abundance of fine detail.
The extras begin with 'Through The Keyhole: An Interview With Sergio Matino.' (34m 42s)
Here, the director explains Edgar Allan Poe was a big influence on his film; that the 1950s 'Feneroli crime' also inspired this film; speaks very well of Pistilli, expressing sadness that he didn't live a happier life and chats about Strindberg, Feneche, critical reaction to his films and declares he's a stern critic of his own work.

'Unveiling The Vice' (23m 7s)
Shot in 2005, this is a making-off retrospective feature, containing interviews with Martino, Feneche and Ernesto Gastaldi.
The director states "Torso" is his best film, while feeling "Your Vice" has greater depth. Gastaldi talks about the challenges faced by writers and directors; remembers Pistilli "He didn't need to act. Filming him was enough", and Feneche also talks about her leading man and of the film that marked a career progression for her.

'Dolls Of Flesh And Blood' (29m 4s)
A video essay from the splendid Michael Mackenzie, which uses split-screen and his own brilliant analysis to explore Martino's five gialli from a golden period.
Michael returns to the M gialli and F gialli he promoted in an essay on Arrow's "Blood And Black Lace" Blu-ray; recalls how "Torso" turned the genre on its head, and talks about Fenech, George Hilton, the theme of multiple killers and observes that Fenech unlocked her true potential in "Vice".
An essay to savour more than once, and the same can be said for Justin Harries' contribution.
'The Strange Vice Of Ms Fenech' (29m 42s)
Justin follows Edwige's career in this absorbing essay, looking at the influence of the Martino brothers on her life and career.

Justin looks at the different phases and roles, including sex comedies; the characters her Italian audience strongly identified with, and her television career.
It's a hugely informative piece, and is followed by 'Eli Roth On Your Vice' (9m 17s)
Eli crams a lot into his slot, talking about the giallo genre; explaining why Martino's films work so well and acknowledges Sergio's influence on "Hostel 2", which features a cameo from Fenech.
It's a nice way to end this two-disc set, which offers real value for money.

There's also an 80-page booklet in this limited edition (3000 copies) release, which includes new articles on the film, Fulci's final interview and a reprint of Poe's original story.

Blu-ray Review: Videodrome (Arrow Video)

"Better on TV than on the street"

Viewing "Videodrome" at the cinema in 1983 was an overwhelming experience, and David Cronenberg's visionary film has lost none of its power some three decades later.
James Woods plays Max Renn; a cable TV hustler with an eye for tougher programming. His bosses feel anything with "too much class is bad for sex", and a presentation of a series titled "Samurai Dreams" is deemed to be too soft as far as unshakeable Max is concerned. Enter Harlan (Peter Dvorsky) - 'pirate of the high frequencies' who has worked with Max for "ten wonderful years". Harlan plays Max a 53 second feed of a TV series called "Videodrome" which consists of women being tortured in front of an electrified clay wall. Harlan declares the footage probably originates from Malaysia, and promises Max he'll secure additional footage very soon.

Max meets Nicki Brand (Deborah Harry) on a TV talk show and begins a relationship that is charged with Nicki's sadomasochistic tendencies. They watch a Videodrome tape recorded by Harlan, and Nicki is turned on by very extreme clips which is now identified as coming from Pittsburgh. To Max's horror, Nicki decides to audition for a show where no-one gets to come back next week, leaving her lover to track down the origins of what is essentially snuff TV.
Media prophet Brian O'Blivion (Jack Creley), his daughter Bianca (Sonya Smit) and the shadowy Cathode Ray mission plunge Max into a terrifying world driven by extreme hallucinations which lead to Barry Convex (Les Carlson) whose 'Spectacular Optical' company harbours a dangerous philosophy.

David Cronenberg's exploration of the mind/body split has realised some challenging and disquieting films, with "Videodrome" a prime example of a director at the top of his game.Of course, the director's rich vein of form was splendidly supported by a regular group of technicians: Ronald Sanders, Carol Spier, Mark Irwin and Howard Shore amongst the people who contributed so much to the look and sound of his films. Cronenberg's direction of actors greatly added to the texture of his work, and Woods and Harry in particular are excellent;the former being onscreen for practically the entire film, as his character experiences mind-bending hallucinations, courtesy of a programme that creates a new part of the brain. Perhaps one of the scariest implications of Videodrome is the hallucinations are perhaps triggered by their victims own depraved fantasies. This really is visionary filmmaking, with several aspects now reality (and some that soon will be), although "Videodrome" was not well received by many of its audience back in 1983.

It was simply too far ahead of its time for many people, but has taken the status of cult movie on the home video circuit.
Like many Cronenberg films, it's not for the squeamish, but paid-up members of the cinema of unease have been amply rewarded by a film that defies the law of diminishing returns. Mark Irwin's inventive photography and lighting; Rick Baker's superb special effects and Howard Shore's doom-laden score combine to form a visual and aural landscape for Cronenberg's small-screen nightmares to work their wholly unsettling magic.

Arrow Video's limited edition Blu-ray numbering 3,000 units sold out within days of release, though there will likely be a re-issue in the near future including the extensive supplementary features but excluding the "Stereo" and "Crimes Of The Future" films and a 100 page hardback book which contains writing from Brad Stevens (on the alternate versions of this film) and Justin Humphreys who looks at the film in a modern context.
Image quality here is a revelation, especially for those of us who have been privy to Universal's cut UK Blu-ray release. The difference is considerable with an increase in sharpness, detail and colour composition.
My first port of call with regard to bonus material was Tim Lucas' audio commentary. Tim was the only journalist onset for the shoot (working for Cinefantastique magazine) and this track (re-recorded when additional material came to light) contains valuable information, observations and anecdotes covering the production. As usual, Tim provides background information on the cast, and is in a position to tell us what was shot on a particular date as well as scenes that were in the script but were never shot. He draws parallels between today's social media and O'Blivion's prediction that everyone will have their own number; talks about the locations used; discusses the actors on and off-screen and tells of a telephone interview with Harry who he'd first seen fronting Blondie on an Iggy Pop tour. Tim also suggests "Tales Of Ordinary Madness" would make for an interesting double-bill with "Videodrome". Another excellent commentary track that begs to be listened to more than once.

'Cinema Of The Extreme' (21m 4s)
Broadcast by the BBC in 1997, this Nick Freand documentary features Cronenberg, George A Romero and Alex Cox. Cronenberg talks about censors; the character of Brian O'Blivion and imagery in his films. Cox chats about Cronenberg's films and recalls the first time he saw "Shivers", while Romero confesses to being worried by some of the images he puts out and talks about his biggest problem with Horror cinema.

'Forging The New Flesh' (27m 44s)
A documentary by the late Michael Lennick who explores Videodrome's video and prosthetic effects. Rick Baker, Frank Carere (physical effects supervisor), Bill Sturgeon (makeup effects crew) and David Coatsworth (location manager) all contribute, as the documentary explores the creation of prosthetics and the race to the Xmas deadline which involved working horrendously long days.

'Fear On Film' (25m 40s)
Shot in 1982, this round table discussion is hosted by Mick Garris, and features Cronenberg, John Landis and John Carpenter. The trio discuss the use of special effects; the classification system; why Horror is so popular and audience reaction at test screenings.

'Samurai Dreams' (4m47s)
The complete and uncensored cut, with commentary from Michael Lennick.
We learn about the source which inspired this footage and get to see two gatecrashes to this extended private party.

Helmet Camera Test (4m45s)
A look at Max's headset which served the purpose of recording his hallucinations.

Here, Cronenberg experiments with different levels of murkiness, and there's reaction shots which include the divine Ms Harry clowning around.

Why Betamax (1m 11s)
The defeated champion of the video age, and exactly the right size for certain scenes in the film

Promotional Featurette (7m 5s)
Interviews with Rick Baker, Deborah Harry and James Woods who explains how Cronenberg sold the film to him.

Interviews
Mark Irwin (26m 27s). Recorded earlier this year, Irwin talks about how he began work as a projectionist; the first couple of features he worked on; the art of lighting a set and Cronenberg's feelings towards storyboards.
Pierre David (producer) 10m 20s
David talks about Deborah Harry; the challenges posed by how to sell the movie; a disasterous test screening and how "Videodrome" was way ahead of its time.
Dennis Etchison (16m 45s)
Here, the author discusses his novelisation and his observations on the script. He explains why he finds Horror a more forgiving and welcoming branch of literature and talks about metting Cronenberg for the first time.

"Camera" (6m 42s)
Made in 2000 to help celebrate the 25th anniversary of the Toronto International Film Festival. This marked Les Carlson's 4th collaboration with Cronenberg, and another instantly memorable one.

Here, he appears on a camera operated by children who capture him reflecting that his best days are behind him. A dream in which he caught a virus from a movie and thoughts on ageing and death and the acting process make this an ingenious and immensely moving short.

'Pirate Signals: The Last Broadcast' (25m47s)
This comprises of 16 deleted scenes from the TV broadcast, which have been digitised from the best available copy.

These segments make for fascinating viewing, and include Max being offered a choice of meals at the Cathode Ray mission and asking to watch Channel 83; a video love letter from Nicki and a limo pick-up; Max catching a very different relection of himself in a store window and a memorable TV epilogue.
Two trailers for the film (4m35s) round off a immensely satisfying package that stands out in a year of rich UK home video releases.

Blu-ray Review: Contamination (Arrow Video)

Following a campaign by Mary Whitehouse and the National Viewers and Listeners Association, the Director of Public Prosecutions released a list of 72 films the office believed were in violation of the 1959 Obscene Publications Act.
Amongst the titles to be banned from video stores were "Tenebrae", "Zombie Flesh Eaters" and "SS Experiment Camp". The term 'Video Nasties' would go on to inspire banner headlines on the front pages of newspapers in the early 1980s.
Well, non-one was going to tell us what we could and couldn't see, so an underground movement came into being where fanzine editors, writers and readers began to record and swap tapes. Soon, it was possible to access not only the nasties which had been taken off shelves of video stores nationwide, but also a wide range of genre fare that had never seen light of day in the UK. 3rd gen video bootlegs were how I first encountered the likes of Jess Franco's "Venus In Furs", Bava's "Kill, Baby...Kill!" and such disreputable fare as "The Beast In Heat".
Luigi Cozzi aka Lewis Coates' "Contamination" was one of the titles to draw attention from the authorities, and was released in a trimmed version. Now, Arrow Video have just released the film on Blu-ray with an uncut 15 certificate.

This science fiction/horror film begins with a crew-less freighter named 'The Caribbean Lady' which soon draws the attention of New York port authorities. A search of the vessel reveals dead bodies that look like they'd exploded from the inside.Lieutenant Aras (Marino Mase) finds huge green egg-like objects which have been concealed in what initially appeared to be a cargo of imported coffee.After two fellow investigators fall victim to substance sprayed from the eggs, Aras teams up with Colonel Stella Holmes (Louise Marleau) to identify the centre of operations for this threat to humanity, and stop those involved.
An earlier flight to Mars involving two men with vastly differing accounts of their time on the Red Planet is thrown into the mix, presenting genre favourite Ian McCulloch as Commander Hubbard, with his opposite number, Hamilton, played by Siegfried Rauch.
At times, "Contamination" moves into the realms of the ridiculous, and a monster (named 'Cyclops) is far from being one of Italian cinema's finest creations. And yet, this film entertains , moving through a snappy 95 minutes which, overall, reward the time invested, as Goblins score works its magic in the background. The film is quite bloody in places, with good special effects, but should never have been caught up in all the hysteria back in the day.
It's a pleasing slice of nostalgia for those of us who first caught the film on VHS, and should also win new converts to the Cozzi fold.

Arrow's Blu-ray presentation is a 2K restoration and looks excellent in HD, with stable colours and good depth.
The extras begin with 'Luigi Cozzi On Contamination'. This is a 22m 55s archive documentary, where the director explains why Science Fiction cinema is generally unloved in Italy, and how he tailored the film to gain international success. He talks about the films influences (amongst them, "Alien" and the 2nd "Quatermass" film); the difficulties caused by special effects requirements and there's also footage of Cozzi directing some of his cast.

Contamination Q&A (41m 5s)
This was filmed at the Abertoir Horror Festival in Aberystwyth on 15th November 2014, and hosted by Arrow's Ewan Cant.
Cozzi talks about the tight 5 week shoot which took place in 3 different locations, and why he agreed to a title change for his film. We hear about an encounter with a dwarf thief (Cozzi still bears the scars) and his reaction to the films 'Video Nasty' reputation. Ian McCulloch is always entertaining, and here he declares he found the eggs ridiculous, but admits he was surprised to learn 'Contamination' was a low budget production. He also records that the end of his Italian film career was a great sorrow. The final 10 minutes of this Q&A are given over to the audience, prompting questions about dubbing and the Goblin score. Ian admits he thought the film had no future at all, and brings the event to a close by talking about horror conventions. It's a hugely enjoyable session, and listen out for Ian's story about his wife's uncle and those banned films - it's a tale I never tire of hearing.

'Sound Of The Cyclops' (11m 31s)
Here, Goblin keyboard player Maurizio Guorini discusses the score and his own career; chats about joining the band; the line-up changes and why they weren't well promoted.

'Luigi Cozzi vs Lewis Coates' (42m 53s)
This is a brand new interview with the director, covering his love of Sci-Fi; his early career as a writer; meeting Mario Bava, Dario Argento and Antonio Margheriti, and there's also a clip from "Blood On Melies Moon" - his first film in 25 years and one to look out for in 2016.

'Imitation Is The Sincerest Form Of Flattery' (17m 26s)
A featurette concerning Italian movies cashing in on Hollywood blockbusters. Maitland McDonagh and Chris Poggiali take a look at the likes of "Great White" (which got into deep water with Universal); the Post Nuke movies and the stars involved, including John Saxon and Fred Williamson.
The original theatrical trailer follows (3m 14s) and there's a chance to view the graphic novel based on the original screenplay, with artwork by Sergio Muratori. Look out for the shower scene which shows considerably more than the film!

The final extra on the disc is an audio commentary with Fangoria and Gorezone editor Chris Alexander, who is a huge fan of this film. In fact, he labels his chat a "fan commentary", going on to call "Contamination" the "ugly duckling of Italian genre cinema". He notes the opening scenes similarity with Lucio Fulci's "Zombie Flesh Eaters"; holds forth on the cast including Marleau, explaining Cozzi would have preferred Caroline Munro, and the turbulent relationships in Goblin. He also talks about that 'Beatles moment' in the film and his opinion on remakes. Chris makes some excellent observations throughout, including his comparison on the underlighting in the Cyclops' lair with Fulci's "City Of The Living Dead".
It's well worth a listen, and may well prompt some viewers to change their opinion on the film.

The extras are concluded in the shape of a booklet, containing new writing on the film. Chris Alexander returns with a piece titled "35 Years Of Contamination", which includes his own observations and those of Luigi Cozzi who explains that Fulci and himself never had the freedom enjoyed by Dario Argento, and that "Contamination" would have been a different film if he'd managed to get Munro the part.
There are also notes on the transfer, and some solid colour stills.

For fans of this film, Arrow's Blu-ray is an essential purchase, with a great presentation of the film and some meaty extras, and newcomers are also recommended to take a look at this entertaining sci-fi romp, warts and all.
"Contamination" is a Region B+A release and is available to buy now.

Blu-ray Review: The Hound Of The Baskervilles (Arrow Video)

An A certificate picture containing X certificate fare may be one way of describing Hammer's 1959 production of one of Sir Arthur Conan Doyle's most popular Sherlock Holmes stories.
While it's true that the film version makes several changes to plot and characters, it remains an important part of Hammer's filmography.
The prologue takes place in and around Baskerville Hall in the 1700s. Here, the evil Sir Hugo Baskerville (David Oxley) is indulging in an evening of drink and debauchery with his hunting cronies. First, a man is held over an open fire and then thrown through a window, leading to the intended rape of a young woman who is pursued by Baskerville to the ruins of a local abbey. It's here that the crazed Sir Hugo stabs her to death, before a chilling howl fills the cold night air. Sir Hugo had become the first victim of a demon hound that casts a long shadow over future heads of the family.

Fast forward several centuries and Sir Charles Baskerville is found dead at the same place where his ancestor departed from this world.Ace sleuth Sherlock Holmes (Christopher Lee) is called upon by one Dr. Mortimer (Francis De Wolfe) to investigate the death of Sir Charles, whose relative Sir Henry Baskerville (Christopher Lee) is on his way to Dartmoor to take up residency at the hall. Holmes despatches his trusty sidekick Dr. Watson (Andre Morell) to establish cause of death in this latest instalment of a truly appalling curse, and the amiable doctor finds himself knee-deep in supernatural legend and human collusion.
As Holmes is missing for a good chunk of this film, it's Andre Morell's Watson who really grabs the attention, dispelling any lingering thoughts of previous bumbling incarnations of this character, being more than capable of going it alone. He's supported by a fine cast too, including the Barrymore housekeepers (John Le Mesurier, Helen Goss); Marla Landi as Cecile who may well be the death of Sir Henry and the wonderful scene-stealing Miles Mallinson as Bishop Frankland. Of course, Sir Christopher Lee delivers a memorable performance and there's on moment where he exudes menace and authority reminiscent of Count Dracula himself.

The scenery, too, plays an important part in proceedings, with unforgiving terrain (watch out for the life-sucking Grimpen Mire), and the spooky abbey ruins that may have played host to unspeakable rites, all beautifully lit by DOP Jack Asher. While it's true that the appearance of the hound is a good deal less than chilling and certain changes to the source are questionable, the film as a whole works very well, driven by a rousing James Bernard score.
Full marks to director Terence Fisher whose eye for the macabre takes the story into wholly unsettling territory, where Holmes himself comments "there is more evil here than I have ever encountered".

Arrow's Blu-ray presentation will please fans of this film and newcomers alike, with vivid detail in both interior and exterior scenes and vibrant colours. The sound is the original uncompressed mono 1.0 audio.
Those same people should also be delighted with the supplementary material here.

'Release The Hound' (30m 20s) is a documentary containing interviews with Mark Gatiss, hound mask creator Margaret Robinson, Kim Newman - who looks at the domestic and international markets for Holmes films - assistant director Hugh Harlow and Peter Allchorne (chargehand props) who recalls Cushing's absolute professionalism. Robinson and Harlow both talk about the hound mask and a dog known as 'Colonel' and Harlow also mentions Fisher's thorough approach to preparing cast, crew and sets. Gatiss and Newman also chat about Cushing's performance.

'Andre Morell: The Best Of British' (19m 43s) is made up of interviews with Andre's son, Jason, Dennis Meikle (author of "A History Of Horrors") and David Miller (author of "The Complete Peter Cushing"). Jason talks about his father's early career and how it was cut in half by the war; why his time with Hammer came to an end and of his death which is extremely moving. Meikle and Miller talk about Hammer's interpretation of the story, and of the humour in the film, making for an absorbing 20 minutes worth.

Next up is "The Many Faces Of Sherlock Holmes"; a 46m 4s feature made in 1986, and narrated by Sir Christopher Lee who sadly passed away recently. This looks at the many incarnations of the master detective, beginning with a tour of Sherlock Holmes' London. The early days, featuring Charles Brookfield and William Gillette are covered, moving onto the first talking Holmes (Clive Brook) and the superb Basil Rathbone and Douglas Wilmer. Sir Christopher also talks about the only actor to play both Holmes and his brother Mycroft, and stageplays starring Leonard Nimoy and Charlton Heston. We even encounter a man who thought he was Holmes in the wonderful "They Might Be Giants". There are some great clips in this enjoyable feature, with plenty to add to your 'must see' list.

'Actors Notebook: Christopher Lee' is a 12m 59s interview recorded in 2002. Sir Christopher offers much praise for Terence Fisher ("a superb arranger"); explains why he preferred to be a stationary actor and how he was absolutely terrified of that spider. He also recounts the last time he saw his dear friend Peter Cushing.

'Hound Of The Baskervilles Excerpts' is 14m 36s of Sir Christopher reading extracts from Sir Arthur Conan Doyle's book. Those of you who have heard him read from the MR James stories will already know what a wonderful reading style he possessed.

The original theatrical trailer in monochrome (1m59s) is next, followed by a stills gallery which includes posters, colour and b/w stills and some excellent artwork.
There's also an audio commentary with Marcus Hearn (official Hammer historian) and fellow film historian and writer Jonathan Rigby. They begin by discussing the BBFC's decision to give the film an A certificate, and go on to inject fascinating information and astute observations. The differences between film and book are discussed; the detail in the performances; Jack Asher's lighting - at which point Ricardo Freda and Mario Bava are acknowledged - and why James Bernard was particularly upset with Hammer. The pair recall reviews for the film, and end a thoroughly enjoyable track by agreeing "The Hound Of The Baskervilles " is a flawed gem.

The extras are completed by an Arrow booklet featuring new writing on the film by former Hammer archivist Robert J.E. Simpson, illustrated with original archive stills and posters.
This Blu-ray is locked to Region B and is available to buy now.

Sir Christopher Lee 27/5/22 - 7/6/15 RIP

Blu-ray Review: The Long Good Friday (Arrow Video)

February 1981, and the opening week of "The Long Good Friday" cinema release saw me heading to my local theatre with not a little enthusiasm. I wasn't disappointed, either.
John Mackenzie's gritty take on organised crime in London delivers straight down the line, and remains one of the very best British films.
Cockney crime lord Harold Shand (Bob Hoskins) is very much one of the old school, refusing to deal in filthy drugs and instead relying on partnerships with corrupt councillors and dodgy Old Bill to help keep his business in front and on top. Fiercely patriotic, Harold has a vision of putting London on the map as the absolute centre of European commerce, and arranges for American counterparts to travel to 'The Smoke' with the aim of securing his support for an exciting docklands development. Charlie (Eddie Constantine)duly arrives with his lawyer in tow, but things have already started to go badly wrong.
Someone is trying to wipe out Harold's firm, with a fatal stabbing and a couple of bombs putting serious dents in Harold's personnel and his credibility.
Could it be a rival firm committed to ending a decade of peace and stability, or an organisation far more powerful than Harold and his rivals?
Shand is in danger of losing not just his potentially lucrative deal with The Mafia, but also his existing empire, and instructs Inspector Parkinson (Dave King) to discover who is responsible for the murders of his men.
When the truth emerges, it's chilling in the extreme.

I've seen "The Long Good Friday" at the cinema, on TV, video, DVD and Anchor Bay's earlier Blu-ray release, and its power down the years remains undiminished.
Part of its lasting appeal has to go down to the cast and its 2 main players in particular.
Hoskins is pure dynamite, lacing his actions and reactions with humour and exhibiting a steely determination tha his 'Hands Across The Ocean' deal will not be thwarted by anyone, while Helen Mirren is far more than a gangsters trophy wife, coming across as a smart, strong lady who can deal with almost anything and anyone.
There's sterling support too from Derek Thompson, P.A.Moriarty and Bryan Marshall as the conniving councillor who although almost permanently drunk, is able to see the clearest. Look out for a feature debut from Pierce Brosnan, too.

It's a violent, not for the faint-hearted affair, with lines of eminently quotable dialogue and complex characters that have grown in stature during the passage of time. It also boasts one of the most memorable closing scenes in British cinema history, and one which is justifiably praised and analysed in the supplementary features. The film plays to a driving Francis Monkman score, and boasts terrific photography from Phil Meheux.
A stone classic, and more than worthy of the reverential treatment bestowed by Arrow Video's Blu-ray.

This is a 2K transfer scanned on a pin-registered Arriscan, and graded on Baselight grading system. The end result is image quality that beats the previous Blu-ray release in every department. Certain scenes are almost 3D-like, with interior and exterior scenes delivering improved stability, sharpness, more realistic colour and grain which is handled with sensitivity. Another triumph for James White and David Mackenzie, with Phil Meheux lending his own expertise and observations to help deliver a flawless transfer.
The extras begin with a director's commentary track where John Mackenzie begins by declaring this was Francis Monkman's first film score and pays tribute to his compositions. John talks about the performances, with much praise for his fine cast; the challenges posed by set designs on a tight budget; the problems he faced with nervous distributors, and why the famous finale came easily to him, explaining he normally struggled with endings.

"Bloody Business: The Making Of The Long Good Friday" follows, being a 54m 52s documentary featuring interviews with Bob Hoskins, Helen Mirren, John Mackenzie, Phil Meheux, Pierce Brosnan and producer Barry Hanson. Shot in 2006, this documentary contains some valuable input. Helen Mirren reveals she thought her character sucked and went on to insist Victoria Shand emerged as a strong character with a major say in her husband's life. We hear why Anthony Francisosa flew in for the shoot and flew straight back; why Bob Hoskins pushed for a court case with solid backing from many fellow actors, and how his background helped to shape the character of Harold Shand.

A series of interviews follows, with Barry Hanson the first to hold forth (5m 40s). Barry recalls working with Hoskins before in a stageplay of "Richard III"; describes how Bob gave the audience confidence and notes the Shakespearean qualities of TLGF.
Screenwriter Barrie Keeffe is next in the frame (8m 28s). Barrie recalls his script for this film was the fastest he ever wrote; talks about his theatre work and of the contributions made by Bob and Helen, feeling the latter held things together in the film with her strong character.
Phil Meheux (3m 18s) explains why TLGF was originally pitched as a TV film; why he initially felt lukewarm to the gig of cinematographer and why he decided to alter one shot in this restoration.
"Hands Across The Ocean" is a 7m 10s featurette showing 5 brief sections that were revoiced to make things clearer to American audiences. Some of the phrases used would certainly be unfamiliar to many of our American friends, so "Bollocks" becomes "Balls" and "gobbed on" becomes "spat upon".
So that's the steelbook release, but there is a second disc of extras which can be found in Arrow's boxset which comprises of "The Long Good Friday", Neil Jordan's wonderful "Mona Lisa" (which also starred Bob Hoskins) and a 100 page hardback book.

This second bonus disc begins with "Apaches" (27m 26s). This short film was made in 1977, and commissioned by The Central Office Of Information on behalf of the Health and Safety executive. It's an early collaboration between Mackenzie and Meheux, with the aim of alerting rural children about the dangers of playing on farms. Here, six children adopt the characters of Apache indians, playing hide and seek and climbing aboard tractors during daily work routine.

A series of nasty accidents follows, that would have undoubtedly put the fear of God into many kids and their parents when viewing this short.The sight of school desks being cleared, names removed from coat pegs, the funeral of one who died way too young and a grief stricken mother sat beside her child's empty bed leave a powerful impression, making this a giant amongst public information films. The end credits carry a list of youngsters who had their lives cut short by farm accidents, further amplifying the overall effect of this short, sharp shock.

A Q&A with John Mackenzie and Bob Hoskins follows (27m 50s), shot at London's National Film Theatre in March 2000, and moderated by Richard Jobson who I first saw leading The Skids at London's Marquee club back in the mists of time.
We hear about the involvement of actual gangsters on the set (including an hilarious argument on the 'cutting' scene); the role of Handmade films in this amazing story;Bob talking about being re-dubbed with a Wolverhampton accent, and how advice from Bob Mackenzie was responsible for shaping his career and approach to acting.

A series of interviews follows, recorded in 2014-15.
Barry Hanson (14m 18s) Barry discusses TLGF original title ("The Paddy Factor") and where it came from; gives the lowdown on Handmade films involvement; talks about the performances of Hoskins and Mirren and states that around one quarter of the way through filming, they realised they had a classic on their hands.

Barrie Keeffe (14m 18s) Barrie chats about 60s London with the Krays and the Richardsons and how the former tried to get involved with the Mafia; explains where the spitting scene came from and recalls TLGF was his first film and an instantly memorable one.

Phil Meheux (17m 37s) Phil recalls joining the BBC as a projectionist; his rise to the role of cinematographer and how Bob Hoskins' eyesight caused several problems.

Simon Hinkley. First assistant director (18m 10s) Simon recalls working with Bob Hoskins on "Pennies From Heaven"; that Eddie Constantine was not the most popular choice to play the Mafia kingpin, and relates how several people attempted to pen a sequel to Mackenzie's film.

The interviews are rounded off with Carlotta Barrow, assistant art director (6m 9s) Carlotta talks about designing the interior of the yacht; the brilliantly staged 'upside down' scene at the abattoir and the construction of the pub that fooled many thirsty consumers. The interviews were edited by Michael Brooke who, together with Daniel Bird, played a large part in the work and expertise behind Arrow's "Boro" set and their Blu-ray of "The Strange Case Of Dr Jekyll And Miss Osbourne" which will be my next review here.

There's also a collectors booklet, featuring new writing on the film by BFI curator Mark Duguid, together with a nice selection of stills.
I know we all feel considerable regret that Bob Hoskins and John Mackenzie are no longer with us, but Arrow's Region B Blu-ray is a wonderful testament to their talents. Both the steelbook and the boxset are available to buy now, and stand proudly in a year of fantastic releases for UK Home Video.