Blu-ray Review: The Orchard End Murder

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.

Now the scene is set for a particularly graphic murder, which launches a police investigation in this sleepy village.

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 .

Blu-ray Review: Long Shot (BFI)

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.

Wim Wenders is one such name, hilariously approached as second choice in case the Fuller gig falls through, while John Boorman provides a wake-up call regarding the script.
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.

Blu-ray Review: The Crying Game (BFI dual format)

In the world of cinema, different markets often deliver polar opposite responses. In the US, Neil Jordan's "The Crying Game" was greeted with open arms by audiences fascinated by the film's sexual politics.
In the UK, the spectre of the IRA - very much active in England at the time - turned off cinema goers who were unwilling to accept that a member of this organisation could possess a human side.

A carnival in Northern Ireland is the setting for the kidnapping of Jody (Forest Whitaker); a soldier who is ensnared by the gorgeous Jude (Miranda Richardson) and taken at gunpoint to a safe house near Newry, some 34 miles from Belfast.
One of the senior members of the IRA is being interrogated at Castlereagh, and Jody is informed that he'll be shot unless their comrade is released within 3 days.
Slowly, Jody's personality and situation infiltrates the very soul of Fergus Hennessey (Stephen Rea); a footsoldier for the IRA, who reveals that behind the political brainwashing lies a man capable of forging friendships across the great divide.
When the inevitable occurs, Fergus has cultivated a bond with Jude, resulting in a journey to London where Dil (Jaye Davidson) works in a hairdressers, awaiting Jodie's return.

"The Crying Game" is a film of secrets deceptions and identity, with a twist halfway through through that's beautifully timed, and which leads to some incredibly moving scenes.
Rea is particularly fine here, succeeding in a supremely difficult task of getting the audience on his side, moving from potential cold-blooded executioner to a person who can laugh, love and feel for fellow human beings. Praise too, for the excellent supporting cast, including Richardson's thoroughly evil agent who eventually turns up in London, reminding Fergus that "You're never out!", having established her cruel nature at an early stage: "Don't leave me with her!" implores a frightened Jody and that's before he takes a heavy blow to the face from the butt of her gun!
Jim Broadbent's go-between barkeep Colin; an affecting turn from Whitaker; Adrian Dunbar's fiery IRA hitman and a quite brilliant performance from Davidson make this a film to enthrall from start to finish.
While it's true there is one scene in particular that requires huge suspension of disbelief, the film overall succeeds as a love story punctuated by the blood and bullets of a dark period in our history.

"The Crying Game" may not have set the box office alight over here, but it's not been forgotten and the release of this dual-format BFI Blu-ray and DVD will delight old admirers and recruit a new generation of film buffs.
The Blu-ray presentation offers solid colours, deep blacks and no anomalies. A rich viewing experience.
The supplementary material commences with a director's audio commentary track. Neil Jordan talks about cinematic influences; casting choices; why he shot in cinemascope; the research undertaken for Jaye Davidson's character and also acknowledges the tip of the hat to "Mr Arkadin."
Jordan also talks about shooting with a minimal budget: a state of affairs amplified in "The Making of The Crying Game" (50m 24s).
Here, the director is joined by Stephen Woolley, Stephen Rea, Janes Giles and Nik Powell; the latter providing further insight with regard to the low budget.
We also hear about Channel Four's main two objections to the script; how the finance was raised and why this film was very much make or break for Neil Jordan.

An alternative ending (with optional director's commentary) is presented for the first time, taken from VHS tape and running for 4m 55s.
Channel Four insisted on an alternative ending being shot, and finally agreed with Jordan that his original ending was better and could be filmed.
I'd say this was the right decision, although the inclusion of the alternative - shot in snowy London streets - is worth seeing.
"Northern Troubles" (8m 50s) Here, a Catholic and a Protestant take separate journeys through Belfast, sharing their respective views on the politics in their world.
The package is rounded off with 2 trailers. The 1st runs for 1m 37s, while the second (53s) is a series of review quotes under the film poster.
The BFI have also compiled a booklet featuring excellent essays by Ashley Clark and Juliet Jacques, and a valuable Neil Jordan overview from Brian Hoyle. Excellent writing from all three participants and worthy of your time.

"The Crying Game" will be released on 20th February.

Blu-ray Review: Paris Blues (BFI)

Set in an Autumnal Paris, Martin Ritt's 1961 film throws together a quartet of Americans. Two of them - Ram Bowen (Paul Newman) and Eddie Cook (Sidney Poitier) - are jazz musicians drunk on the artistic spirit of the city, and also the freedom it provides.
Lillian (Joanne Woodward) and Connie (Diahann Carroll) are tourists, arriving for a two week stay with the aim of taking in all the popular haunts in this city of lovers.

The arrival of jazz legend Wild Man Moore (Louis Armstrong) sends the local community into a frenzy; many of whom hang out a Marie Seoul's jazz cave where Ram and Eddie play.
After a false start which suggested Ram and Connie could well develop a certain chemistry, Ram takes up with Lillian, leaving Eddie to fall for Connie.
As jealousy and the plight of a talented musician and friend simmer and pop in the background, both men are forced to choose between their potentially rewarding careers and the chance to find real love with adoring partners.

"Paris Blues" is beautifully paced throughout, moving from the exhilarating jam sessions and backroom bust-ups to quiet, reflective moments which involve the most painful soul -
searching.
We have Ram showing his drug-addicted buddy a mirror image of what he'll become if he doesn't quit the coke; Eddie, fearful of exposing himself to the racism back home, and there's a fateful encounter between Ram and a music promoter who must decide whether Ram's compositions represent a seriously accomplished piece of work.
Add to this the two smitten females who are convinced their partners are a once-in-a-lifetime find, and you'll see there's a multitude of emotions to take in, all of them conveyed by a first rate cast while the superb soundtrack plays on.
Wild Man's comment to Ram that "They tell me I have to blow real hard to put you down" is entirely correct, and both men participate in an almighty session, blowin' fit to burst, with not a hint of one upmanship. Just the joy of playing, and being a part of great things.The venue, too, is a delight as jazz aficionado's sit at tables with candles perched in wine bottles, living every note as the music flies up the stairs and out into the magical Parisian night air.
"Paris Blues" captures the atmosphere of these venues, but also explores the fallout from musical infatuation and genuine fears about the specter of racism that haunts many who left their countries for something better. It's an absorbing study of how lives can change so quickly and why we sometimes do things for the wrong reasons.

This BFI release is part of their Black Star season, dedicated to the power and versatility of black actors.
"Paris Blues" certainly looks splendid in HD, with exquisite detail. Duke Ellington's Oscar-nominated score can be enjoyed to the full on an isolated music and effects track.

Adrian Martin is fast becoming my favourite when it comes to the audio commentary department, so I was pleased to discover he takes the microphone here to deliver an informative talk.
Adrian goes into the wealth of information and detail in various scenes; talks about method actors and character psychology; brings "One Eyed Jacks", Brando and John Cassavetes into the equation, and discusses the mixture of studio and location shots. Adrian acknowledges "Paris Blues" was not a highly regarded film at the time, but makes a solid case as to why it offers real value.

The BFI also includes a stills gallery, comprising of b/w and colour stills, plus film posters and there's also a 2m 49s trailer.
You'll also find a booklet in this dual format release, which includes essays from Nicolas Pillai and Rashida K. Braggs, together with Philip Kemp's look at the career of
Martin Ritt.

"Paris Blues" will be available to buy from 24th October. Highly recommended!

The Firm (Alan Clarke) BFI Dual Format Release

Back in the 1970s, football violence in England often consisted of one thousand per side battles between rival fans, either inside the ground or on the way back to the railway station or coach parks.
Bloody confrontations were a weekly occurrence, with police struggling to keep these large groups apart.
As time went by, the police began to tighten their grip on proceedings, becoming wise to when and where these fights would take place. This resulted in the hooligans employing different methods to stay one step ahead of the authorities.
Club colours were discarded; smaller groups set up fights with their rivals miles away from the stadiums and weapons such as stanley knives were used to inflict maximum damage in minimum time.

Made in 1988, Alan Clarke's "The Firm" remains probably the best film on football violence, highlighting that this disreputable profession was not solely populated by the disenfranchised but often organised by men in respectable, well-paid positions.
The film follows the activities of The ICC - Inter City Crew - a London firm modelled on West Ham's fearsome ICF and led by Clive 'Bex' Bissell (Gary Oldman).
Bex - a 30 year old real estate agent - leads his mob with a rod of iron, and has ambitions to ply his trade on the international circuit.
The forthcoming European Championship tournament is firmly in Bex's sights, with a national firm consisting of England's finest in need of a leader. The ICC make their way to a swish hotel where their rivals top boys are waiting to stake their own claims. The Buccaneers - led by Yeti (Phil Davis) - and a Birmingham firm fronted by Oboe (Andrew Wilde) fail to agree on a leader, resulting in two organised '0ffs' where last man standing gets the gig.

Clarke - a lifelong Everton fan - hated football violence, and shows this bloodsport at its most damaging.
The BFI disc contains the original BBC broadcast which was cut to run at 1 hr 7 mins.
The director's cut is also included, running for 1 hr 8 mins 6 secs.
The additional footage, deemed to controversial to be screened, further amplifies the extreme damage to life and limb, with the revenge attack on Oboe being a strong case in point.
One of the film's sharpest observations is the contrasting effects of football violence on the family unit.
Bex's wife Sue (Lesley Manville) constantly tells her husband that his involvement has to end, fearing for his well being, and there's a particularly upsetting scene when Bex's young son picks up a stanley knife that's lying around like a discarded toy.
Even parents have a role to play here, with a proud dad reminiscing about having it with Millwall back in the day.

On the casting side, there are some very strong performances. Lesley Manville as the long-suffering wife who reveals her liking for rough sex at the culmination of a disturbing scene that began as something entirely different, while Davis and Wilde are both excellent as contenders for the crown. Best of all has to be Gary Oldman who turns in a frighteningly intense performance, keeping his troops toeing the party line by adopting a rule-by-fear persona and accepting casualties as a small price to pay en route to the coveted number one spot.
For my money, "The Firm" remains the father of football violence films, and is every bit as savagely realistic as the day it came out. The activities portrayed may be offensive in the extreme to many, but it also captures the undoubted buzz experienced by members of football's very own fight club.

This BFI dual format release includes two commentary tracks. The first features Gary Oldman flying solo: a difficult task, but he acquits himself admirably. He talks about working for the late director; Clarke's methods; John Ward's photography; acting with Lesley Manville (his wife at the time) and throws in some golden anecdotes, including why cast and crew had to receive a police escort when things got a bit hot during filming.
The second track features Lesley Manville, Phil Davis, author Dave Robinson and TV archivist Dick Fiddy.
Lesley talks about Clarke's censorship battles with the BBC; how they shot the scene with the toddler and the knife and why she elected not to inform Clarke before or during the shoot that she was pregnant.
Al Hunter's research for the film is covered - including a meeting with two members of West Ham's ICF - together with much admiration for Clarke who gave his actors room to breathe. Alternative endings for "The Firm" are also discussed.

Next up is "Elephant" (37m 39s)
This controversial short film was screened by BBC2 on 25th January 1989, and turned the spotlight on chilling executions carried out by the IRA.
Almost completely bereft of dialogue, "Elephant" comprises of a series of murders where one, sometimes two hitmen turn up at petrol stations, swimming pools, football fields and houses to kill those who have incurred the wrath of the Irish Republican Army.
Sometimes there is recognition shown by the victims who seem to know the man with the gun, while others stare blankly at the intruder, but the end result is always the same.
Ward's camera lingers on the various death poses, driving home the obscenity of these acts that take place in a world of emptiness where there are no cars, passers-by or shoppers to witness the slaughter.
It's a tough watch to be sure, but it did educate the public over here in England and make them aware of what was happening in Northern Ireland on a daily basis.

Mark Kermode and producer Danny Boyle offer a thought provoking commentary track where Boyle begins by explaining how he came to work with Alan Clarke. He talks of a man who treated everyone the same; explains why Clarke chose to tackle the subject of civilian murders in Northern Ireland and his reasons for not wanting the film to be shown over there.
Kermode makes some excellent points during the conversation, regarding the settings; the fact that those who got away were not witnesses and declares the murders were un-cinematic.

Open Air Discussion of Elephant BBC1 (21 min)
Screnned on the evening after Elephant's BBC2 airing, Susan Rae presents a phone-in with Alan Clarke taking calls from a largely critical audience. The director was in LA at the time, but close enough to feel the heat from aggrieved callers; some of whom felt his film to be an insult to the people of Northern Ireland.
Clarke defends his work admirably, as does Danny Boyle who appears in the studio for the second half of the programme to take more calls.

Alan Clarke: Out Of His Own Light part 12 (36m 20s)
A fascinating documentary segment, covering "Elephant" and "The Firm", with valuable input from Brian Cox, Stephen Frears, Paul Greengrass, Clarke's daughter Molly, John Ward and other key figures in this story.
Itr's frequently moving to witness the love and respect they had for this much-missed director and a nice way to end one of the finest releases of 2016 thus far.

"The Firm" Blu-ray/DVD combo is available now as a separate release, or as part of the BFI boxset:
"Dissent & Disruption Alan Clarke at the BBC 1969-1989".
Take a look at the contents listed below

lthough probably best remembered for the controversial and groundbreaking dramas Scum, Made in Britain and The Firm, the breadth of Alan Clarke’s radical, political, innovative, inspirational work, along with his influence on generations of filmmakers, such as Gus Van Sant, Paul Greengrass, Andrea Arnold, Harmony Korine, Clio Barnard, Shane Meadows, should see him rightly regarded as one of Britain’s greatest ever filmmaking talents.

This long-overdue collection finally brings together all twenty-three of the surviving stand-alone BBC TV dramas that Alan Clarke directed between 1969 and 1989, including such neglected classics as To Encourage the Others, Horace, Penda’s Fen, Diane, Contact, Christine and Elephant, and also includes Scum and the first ever presentation of Clarke’s original Director’s Cut of The Firm, assembled from his personal answer print, discovered in 2015.

Among the extensive extras, which include David Leland introductions, extracts from BBC discussion shows Open Air and Tonight and newly-produced documentaries and audio commentaries, this Limited Edition 13-Disc Box Set also includes a bonus DVD of Clarke’s Half Hour Story episodes, made for Associated Rediffusion during the late-60s.

Films
The Last Train through Harecastle Tunnel (1969)
Sovereign’s Company (1970)
The Hallelujah Handshake (1970)
To Encourage the Others (1972)
Under the Age (1972)
Horace (1972)
The Love Girl and the Innocent (1973)
Penda’s Fen (1974)
A Follower for Emily (1974)
Diane (1975)
Funny Farm (1975)
Scum (1977)
Nina (1978)
Danton’s Death (1978)
Beloved Enemy (1981)
Psy-Warriors (1981)
Baal (1982)
Stars of the Roller State Disco (1984)
Contact (1985)
Christine (1987)
Road (1987)
The Firm: Director’s Cut (1989, previously unreleased)
The Firm: Broadcast Version (1989)
Elephant (1989)
Bonus Disc (DVD only)
Shelter(1967)
The Gentleman Caller (1967)
Goodnight Albert (1968)
Stella (1968)
The Fifty-Seventh Saturday (1968)
Thief (1968)

Blu-ray Review: Beat Girl (BFI)

Newly weds Paul and Nichole Linden (David Farrar, Noelle Adam) arrive at their Kensington home to encounter a resentful teen still troubled by her parents breakup.
Jennifer (Gillian Hills) is hostile towards her stepmother from the word go, while her relationship with father Paul is a classic case of parental neglect as his City 2000 project holds centre stage: a revolutionary housing plan which fails to understand the people who will dwell there.
Jennifer is part of a rebellious group who congregate in clubs, coffee bars and, at one memorable rave, Chislehurst Caves,and adopt an anti-authority stance which their elders can never understand.
Her friends - who include the coolest of Beatniks Dave (Adam Faith), gorgeous singer Dodo (Shirley-Ann Field) and Peter McEnery's Tony who constantly brings up his military father, "weighed down by medals."

A Soho cafe called 'The Off Beat' is their haven and also marks the spot where Nichole's troubles multiply when she bumps into an old friend named Greta (Delphi Lawrence), known as 'The Duchess' at 'Les Girls' strip club.
Jennifer discovers her stepmother and Greta go back to a life in Paris where "it's not easy to stay respectable on an empty stomach", and decides to build on this knowledge to wreck a marriage.

Events take a sinister turn when Jennifer, under age, meets 'Les Girls' owner Kenny King (Christopher Lee) who immediately senses another conquest may be on the horizon.

Of course, Lee had appeared as Count Dracula two years earlier, and here, his character in Terrence Fisher's film possesses him in a chilling scene.
Witness King grooming his prey, offering her an exciting alternative to her current situation, into a life as one of the 'undead' who enjoy brief riches before losing their position as the next victim rolls up.
Here, there's no glamour, save for a quick honeymoon period, just as the vampire brides promise of immortality is a hollow one.
Rebellion and her juvenile delinquent persona evaporate in the face of true evil.

Jennifer and her crew were survivors: war babies who emerged from the rubble after The Blitz.It was a perilous situation brought home when Dave recalls his first home was a London underground station.
In "Beat Girl", attitudes and memories of these experiences fuelled a swinging generation, and director Edmond T Grenville's direction guides the impressive cast through a moment in time where squares did not fit into their circle.
Hills, Faith, Field, Lee and co all make their mark a memorable one, and watch out for Oliver Reed - Plaid Shirt in the credits - who moves, grooves and smoulders with the best of them as The John Barry Seven kick up a storm, amalgamating Swing and Jazz to great effect.

This BFI Blu-ray presentation was newly remastered in 2K, with a glossy monochrome look beautifully rendered.
The disc includes 3 versions of the film, with the main cut running for 1 Hr 27M 42s.
The alternative version was released to certain countries overseas and runs for 1Hr 32M 9s.
An additional scene with Paul And Nichole on a London-bound train; Jennifer showing a book on jazz to Nichole and a softer version of a striptease make up the extra minutes.
The extended version runs for 1Hr 32M 38s and is basically the same as the alternative cut. According to the booklet accompanying this release, it's a hybrid version, assembled from different elements.

The extras begin with an interview with Gillian Hills, running for 25m 26s.
Gillian - who looks stunning - talks about "Beat Girl" being a Godsend for her, and displays excellent recall as she talks about her director and a cast that contained some extraordinary talent.
It must have been quite an experience to appear in this film at such a tender age, and Gillian's fine performance has lost none of its vitality down the years.
This interview is a valuable account of a film where everything came together, a time Gillian recounts with real warmth.

Next up is "Cross-Roads"; a 1955 supernatural short which runs for 19m 17s.
Christopher Lee headlines as Benson, who is on his way to the London offices of Bernard J Maskell (Ferdy Mayne); an unscrupulous impresario soon to meet his match.
This is a wonderfully engrossing 'quickie', directed by John Fitchen, and boasting one scene in particular that will strike a chord with Hammer buffs, as the camera settles on Lee's eyes which display every ounce of the rage and savagery of a Dracula that was still 3 years away.

"Beauty In Brief" (3m 50s)
A 1955 striptease short, where full-on nudity is avoided as a young woman anticipates her wedding with attire that her intended would surely approve of.

"Goodnight With Sabrina" (3m50s)
Sabrina (Norma Sykes) entertains us from her own apartment, swapping evening gown for bath and bed, before bidding us goodnight.
As Arthur Askey would have said, "I Thank You".
The BFI have also included a 20 page booklet which includes Gillian remembering "Beat Girl"; Vic Pratt's essay on the film; Johnny Trunk's essay on John Barry's score, and Jo Botting's look at Edmond T Greville's work.
It all makes for required reading.

As an historical document of times gone by and a hugely enteraining film to boot, "Beat Girl" thoroughly deserves its chance to take another bow. A jewel in the BFI 'Flipside' crown, no less.

DVD Review: Symptoms (BFI)

A good number of you may be familiar with Jose Larraz via his ex and blood romp "Vampyres", which featured Marianne Morris and Anulka as creatures of the night roaming the countryside in search of their prey.
"Symptoms" is a different story, being largely unseen in the UK during the four plus decades since its release.
Now, the British Film Institute has made this Euro Horror gem available for home viewing after finding the original negatives.
Larraz's film was chosen as the British entry for the Palme d'or for the 1974 Cannes Film Festival, ruffling a few feathers along the way, due to popular support for Ken Russell's "Mahler".
The reception in Cannes was largely positive, but "Symptoms" sank without trace, becoming a sleeping giant waiting to be re-born.

The film is set on an English country estate where Helen Ramsey (Angela Pleasence) has returned following a period of convalescence in Switzerland. Helen invites her friend Anne (Lorna Heilbron) to stay; the latter hoping for a peaceful holiday amidst beautiful surroundings.
Anne's first night is largely undisturbed, save for the sound of laughter which Helen claims not to have heard.
A photograph of a dark haired beauty who Helen identifies as Cora, and the sinister presence of odd job man Brady (Peter Vaughan)combine with a past tragedy and a future where "something is about to happen".
As a fierce storm and driving rain take hold, "Symptoms" becomes ever more disturbing, with apparitions appearing in mirrors and footsteps patrolling the attic, setting nerves on edge in fearful expectation.
As an exercise in psychological terror, "Symptoms" scores highly, charting a descent into madness and beyond to a most disconcerting degree.

There's much to enthuse over here, from both sides of the camera: a trio of fine central performances, with Pleasence and Heilbron playing well off each others chalk-and-cheese characters, while Vaughan recalls the lecherous locals of Peckinpah's "Straw Dogs" with eyes that strip the very souls of his neighbours.
John Scott's eerie score is perfectly in tune with on-screen events, intensifying when the numerous slayings occur, with Herrmann-esque flourishes, while DOP Trevor Wrenn's photography - presided over by Larraz himself - captures haunted woods and gloomy interiors while showing the countryside in all its autumnal glory.

It's a team effort that pays rich dividends, taking up the baton from Roman Polanski's "Repulsion", to fashion a compelling account of what can happen when the red signs of madness take an icy grip.
"Symptoms" is fully deserving of the reverential treatment bestowed by this BFI release.

Image quality on my DVD screener will be a revelation to those who discovered the film via beat-up home video incarnations, while newcomers will be pleased by this restoration which delivers deliberately muted colours and strong detail.
The supplementary material begins with the 70s 37s documentary, "On Vampyres and Other Symptoms".
Recorded in 2011, this absorbing documentary looks at the director's formative years - his father told him the best lessons are learnt on the street - his talent for drawing comic books, and his late start in the world of filmmaking, which began after a meeting with Josef von Sternberg.

Larraz talks about his literary influences; his thoughts on life, death and life after death and gives his forthright opinion on the Cannes festival.
There's also a lovely scene where Marianne Morris and Anulka take to the stage to present Larraz with an award at a festival screening.

"From Barcelona To Tumbridge Wells: The Films of Jose Larraz".
A 24m 11s episode from the essential 'Eurotika' series.
Here, Larraz talks about his fascination with ancient legends; Thomas Owen's books and some of his own previous work.
Marianne Morris remembers her work in "Vampyres" and her initial reaction to the film, while Brian Smedley-Aston chats about his relationship with Larraz and some of the films they made together.
Some very strong clips from "Vampyres" are included, which should see you reaching for your own copy, or palcing an order.

An Interview with Angela Pleasence (9m 11s)
Angela recalls how she got the lead role in "Symptoms", going on to describe Larraz as a remarkable talent but someone she didn't always agree with.
We hear about an accident which occurred on the set; 19 hour shoots and her opinion on "Symptoms" which she saw just 3 days before doing this interview earlier in 2016.

An Interview with Lorna Heilbron (17m 11s)
Lorna talks about her time at drama school; her memories of Larraz (an intense and also charming man), and how she had to develop an inner stillness for her role.
Peter Cushing, "The Creeping Flesh" and her life after acting also figure in this interview.

An Interview with Brian Smedley-Aston (16m 20s)
Brian's early career in the cutting room; his contribution to Cammell and Roeg's "Performance"; his work with David Greene and his recollection of the 1974 Cannes Festival with its strong line-up round off this fascinating trio of interviews.
There's also an illustrated booklet with this dual format release, which features a beautifully written essay by Vanity Celis who delivers a persuasive overview of this film.
"Symptoms" is available to buy now, and destined to be on many best of 2016 home video lists.

Blu-ray Review: Underground (Emir Kusturica) BFI

Emir Kusturica's magnificent beast of a film earned him the Palme d'or in 1985: the second time he's won this prestigious award.
"Underground" also attracted fierce criticism, with accusations of engaging in Serbian propaganda, and his use of documentary footage also upset many viewers.
The film centres on Blacky (Lazar Ristovsky) and Marko (Miki Manojlovic)best friends who are both engaged in selling arms to partisans.
Gorgeous actress Natalija (Mirjana Jokovic) soon drives a wedge between the pair, and the lovestruck buddies eventually find themselves further separated by a terrible deception.

Marko, driven by jealousy and pure greed, keeps his friend below ground in a cellar for 20 years, feeding him the lie that the second world war is still going on above his head, with air raid sirens and other bogus methods ensuring he stays firmly out of the picture.
Above ground, Marko prospers, making hay with his life and career as time marches on towards a day of reckoning.

While some people may not care for the main players - who boast few redeeming features between them - they are undeniably fascinating to watch as the years overtake ambition and personal gain en route to sobering old age.
Wounded, weary faces are much in evidence during the many sombre moments, yet there are also scenes of priceless comedy that lighten the load, with running gags, a hilarious sequence where a bicycle headlamp assists a most unorthodox birth and several instances of pure slapstick: do look out for the riotous wedding scene where the shellshocked bride - betrothed to Black's son - sits wondering just what the hell she's married into as a revolving band plays on regardless, and the most talented chimp this side of Argento's "Phenomena" who brings the war a little bit closer to home.
This carrot and stick approach, for me, works beautifully, elevating the film and ensuring it's one of the quickest 170 minutes you'll encounter.

Serious study of relevant historic periods may well cast "Underground" in a different light, but the many arresting visuals and striking, layered performances do make for compelling viewing.

This BFI release consists of a Blu-ray containing the 170 minute version of "Underground", plus 2 x DVD discs which include Kusturica's six-part tv version, "Once Upon A Time There Was A Country" which runs for 5 hours 15 minutes.
Disc 2 contains 4 episodes, running for 3 hours 7 minutes, while the 3rd disc delivers episodes 5 & 6, running for 1 hour 41 minutes.
This extended version is able to spend more time on characterisation and also tightens the narrative considerably, bringing a greater degree of coherence, while the scenes below ground have a greater kick now, adding to the enormity of a deception that ran for two decades.

"Underground" has certainly acquired a cult following, and those people will be delighted with this release.
Image quality on the 3 discs is excellent, providing a fitting showcase for Viko Filac's stunning cimenaphotography, with an abundance of fine detail amidst robust colours.

The extras begin with "Shooting Days" - a 1996 documentary by Aleksander Manic - which follows the making of "Underground" and runs for 73 minutes.
It's a fascinating piece, pitching the story as a final scream for the old Yugoslavia, with cast and crew really buying into their director's vision.
With the atmosphere varying from tense to exuberant, the cast and crew are seen coping with a script which changed almost daily as new ideas were thrown into the mix.
The 29 minute EPK makes for a good companion to "Shooting Days", comprising of behind-the-scenes footage and interviews with Kusturica, Mirjan Jokovic, Lazar Ristovski, Miki Manojlovic and production designer Miljen Kljakovic.
Here, Lazar talks about his portrayal of Blacky - " a pre-war idler" - while Miljen discusses production design, with an interesting look at the ageing process for the three leads.
There's also praise for Goran Bregovic's extraordinary score, some b-roll footage of the wedding and Mirjan holding forth on her character and its development during the 18 month shoot.
A booklet accompanies this set, containing enlightening essays from Sean Homer, Dina Iordanova and Michael Brooke which add historical context to this film.
This BFI set is available to buy now, and comes highly recommended.

Blu-ray Review: Night And The City (BFI)

Meet Harry Fabian. Truth to tell, he's probably not the type of person you'd wish to encounter but it wasn't always like that.
Witness the scene where long suffering partner Mary (Gene Tierney) picks up a photograph of the pair and declares "Look at the people we used to be."Somewhere along the line, Fabian - played by Richard Widmark - was a decent man until his desire to be someone well and truly took root. Now, Harry is a hustler chasing the big bucks via a series of moneymaking schemes that end in tears, invariably leaving his partner holding the dirty end of the stick.

£100, £400 or a crisp £5 note... to Harry, it's just stake money on a game that can't go wrong but always does.
He inhabits a shadowy world where forgers, hookers and spivs peddle their wares, with enough mug punters and desperate clients to keep the wheels turning nicely. Harry's latest venture involves the chance to run London's wrestling circuit, after an encounter with old-time legend Gregorius ( Stanislaus Zbyszko) whose son Kristo (Herbert Lom) can see through Harry immediately. Thus, father is turned against son while Harry's endeavours to secure finance for a clash of wrestling titans may well make him the someone he craves to be.
Harry gets one half of the backing from Philips Nosseross (Francis L. Sullivan); owner of The Silver Fox club, whose wife Helen (Googie Withers)sees a way out of their marriage, aiming for a life of "ease and plenty" as Fabian is so fond of saying. This ill-fated alliance leaves battle-scarred victims in its wake, with scarely a likeable character on view. Even bumbling gourmet Adam Dunn (Hugh Marlowe) sets the hackles rising, just waiting for Fabian to trip up for the final time so he can win Mary's affections. In the end, it's only Gregorius that wins any sympathy, really tugging at our heartstrings when he asks for a window to be closed in a highly emotional scene.
For all that, it's a pleasure to watch the cast at work: Withers as the deliciously self-centred Helen; Sullivan having a ball with big Phil's scheming character and Widmark's take on Fabian who ultimately discovers that London is a very small place when you're on the run.

DOP Max Greene constructed a marvellous monochrome world here, with low camera angles, shadows on walls and ceilngs and famous London landmarks acting as a backdrop to enthralling doses of backstabbing and nefarious dealing in 1940s London.
Quite possibly director Jules Dasson's finest, and a film noir par excellence.

Green's cinematography certainly looks even more impressive on the BFI Blu-ray which unveils the American version of this film from a 4K scan. The films looks gorgeous here, with excellent contrast and detail, while the British version benefits from a 2K scan. There are several differences between the two cuts: the English version initially gives us a glimpse of two people reminded even more strongly of how things were before Harry's hare-brained ideas held sway and there's a different take on the scene where Helen Nosseross makes a startling discovery.
The two versions have different scores: Franz Waxman on the American version and Benjamin Frankel on the British cut which also features narration from Dassin.

The extras begin with two commentary tracks. The American cut sees Paul Duncan - writer and editor of film noir books - take the microphone. Paul talks about Gerald Kersh's novel; script revision; various stars who were approached to appear in the film; the challenges posed by shooting at busy London locations and MPAA directives regarding some of the scenes. The English version offers a commentary track from film scholar Adrian Martin who highlights the differences between the two cuts and the cosmopolitan aspects of the film. Adrian also discusses the novel; identifies locations used in the film and makes comparisons with both Orson Welles and "Force Of Evil".
Two excellent tracks that will heighten your appreciation of just what was accomplished here.

Next up is The Guardian Lecture: Jules Dassin Interviewed By Alexander Walker. (51m 38s)
The interview plays out to a series of images from the film, and includes Dassin's recollection of how he made the transition to Hollywood - a place that had "very little mind of its own." Dassin recalls films that influenced him; discusses the blacklist and his subpoena to appear before the Unamerican Activities Committee, and also takes questions from the audience for the last 5 minutes.

Richard Widmark Interviewed By Adrian Wooton At The National Film Theatre (1 hr 12m)

Recorded in July 2002, this very special event is a joy to view. Widmark talks fondly about his radio and theatre days; his debut feature in 1947 titled "Kiss Of Death"; his approach to acting and love of the studio system and the "great experience" of working on "Night And The City". Again, the audience are invited to ask questions, which include a query about the differences between acting in monochrome and colour which brought the house down. Hugely entertaining and informative.

The BFI have included a booklet which features an essay by Lee Server; Paul Duncan's piece on the film, novel and remake, and James Hahn's article on the two versions of the film.
A highly recommended release.

Blu-ray Review: Vivre Sa Vie (BFI)

The life of record store assistant Nana Klein (Anna Karina) is hardly a model for beautiful, bright young things to aspire to. Nana wears a sullen expression for her working hours, going through the motions of taking money and giving change with the grey mist of discontent shrouding her every move.
Outside, things are even worse with estranged husband Paul (Andre Labarthe) a source of mental exhaustion: "The more we talk, the less the words mean" really sums up their relationship.
Nana is looking for something more in her life. Something that will bring stability, enabling her to break free from her shackles.

Raoul (Saddy Rebbot) offers lucrative employment in the world's oldest profession; a job which accelerates her income and also her hastens her downwards spiral.
We see a succession of men: some handsome and confident, others plain and reserved. We hear exactly what is expected of a prostitute, including the numbers of clients she can expect each day and the sums she can earn. It's an almost unbearably sad world, and even the bright, eye sparkling moments in this film are tinged with unhappiness.

The scene where Nana measures herself with her hands for a job application form and a playful jukebox dance (which anticipates the famous sequence in Bande a Part) are part of an existence which kicks against one of the world's most romantic cities.

This is a winning performance from Karina who conjures up conflicting moods exceptionally well, her every look, her every gesture commanding our attention. She's a beauty behind bars who can never break free: even a visit to the cinema - an escape for most of us - reminds her of her own sad life. Witness the clip from Carl Dreyer's "The Passion Of Joan Of Arc" which leaves Nana in tears: a scene I was reminded of years later when I watched the reaction of Naomi Watts and Laura Harring to Rebekah Del Rio's heartbreaking rendition of "Llorando" in "Mulholland Drive".
"Vivre Sa Vie" is a beautifully structured piece, of its time and yet also of our own time. Some things never change.
To quote Edith Wharton, "next to death, life is the saddest thing there is." That certainly holds true for one of Jean Luc-Godard's finest films.

The BFI blu-ray presentation offers excellent image quality, with an abundance of exquisite detail.
It's worth noting that the British theatrical version incorporates title cards and intertitles taken from an original 35mm duplicating print of the British theatrical version held by the BFI National Archive. The picture for both versions has been restored, removing dirt, scratches and warps, with damaged frames and stability issues repaired.

The supplementary features begin with a commentary track from the excellent Adrian Martin, who explains Godard's 4th feature is different to its predecessors with regard to a more controlled, structured opening. Adrian also notes how Godard films conversations here; talks about the theme of being caged and of another world that lies outside the windows of Nana's prison, and that even exterior scenes have a claustrophobic feel. He also highlights the finale as being a homage to Rossellini, with a nod to Antonioni, and has a lot to say about Anna Karina.
It's a commentary rich in sharp observation, and required listening for us all.

Anna Karina In Conversation With Alistair Whyte is a 36m 15s interview, recorded in 1973.
Alistair asks Anna about her directorial debut "Vivre Ensemble" and why she decided to direct. He also asks about her reaction to wtaching herself on film, and she talks about working with Godard, Cukor and Visconti.

"Charlotte et Veronique" (20m 28s) aka "All The Boys Are Called Patrick".
This 1959 short film is the first of three on this disc. Its screenplay was written by Eric Rohmer and involves two friends, Charlotte (Anne Colette) and Veronique (Nicole Berger) who are both picked up by the suave Patrick (Jean-Claude Brialy). The girls discuss their new admirer and soon work out they've been duped by a serial seducer who arranges to meet them separately while he's already on the way to his next target. It's an enjoyable dash, and fair warning that if something seems to good to be true, then it almost certainly is.

Un Histoire d'eau (A Story Of Water) 1961 12m 14s
Vileneuve-Saint-Georges is flooded each February by an avalanche of snow that melts and engulfs the village.
A girl (Caroline Dim) is stranded by the floods and meets Jean-Claude Brialy during her efforts to reach Paris. The sight of the waterlogged countryside is a constant, but it's their growing relationship that's at the centre of things en route to the capital and a ftiing monument to their newfound love. This engaging short was a collaboration with Francois Truffaut.

Charlotte et son Jules 1958 13m 13s

A homage to Jean Cocteau, this one features Anne Collette and Jean-Paul Belmondo as ex-lovers who meet again when Charlotte returns for a reason that become hilariously clear at the end. Charlotte is on the receiving end of severe lectures from her former lover, barely getting a word in as Belmondo's character goes on and on.
It's a postcard of the poverty of failed relationships, but light-hearted and entirely fascinating to watch the two leads at work. Godard himself recorded Belmondo's dialogue as military service reared its head before Jean-Paul could record his contribution.

The main feature offers an optional introduction by Leslie Hardcastle, recorded before the Vivre Sa Vie screening at London's National Film Theatre in 1968. Godard had been invited to introduce the screening and had accepted, but didn't show up. Leslie explains what happened and his efforts to persuade Godard to attend.
There's also a 2m 20s theatrical trailer (which gives the game away with regard to the downbeat finale) and a 2 page booklet with reviews from Virginie Selavy and John Russell Taylor and an essay by David Thompson.
Highly recommended, and a treasure trove for Godard buffs.