Blu-ray Review: Alain Robbe-Grillet Six Films 1963-1974. BFI Blu-ray

"Art exists to trouble". Alain Robbe-Grillet.

Alain Robbe-Grillet first became famous in the field of literature, becoming the leading novelist in the nouveau roman movement of the 1950s. Robbe-Grillet also penned the screenplay for Alain Resnais' 'Last Year In Marienbad', and started directing his own films just shy of his 40th year. The British Film Institute are about to release a collection of his films, presenting consumers with the choice of a 3-disc Blu-ray set or a 5-disc DVD collection. This important release begins with his directorial debut which won the Louis Delluc award.

L'Immortelle (The Immortal One) 1963

Jacques Doniol Valcroze takes the part of Andre Varais; a stranger in a strange land which is identified as Istanbul. Varais is a teacher and is looking for a lift when he encounters a woman who goes by different names, though I'll settle for Lale (Francois Brion). Andre is instantly attracted to this enticing beauty, but the prospect of a steady relationship is hindered by characters and events that live outside the traditional structured storyline. Lale mentions early in the film that the city played host to slavery when young women were brought in on boats to be claimed by the rich and powerful. Although it's never clear whether or not Lale was a victim of this reprehensible trade, various scenes in the film suggest it's likely she was or still is.

'L'Immortelle' is akin to a constantly changing jigsaw puzzle where pieces are taken away and re-assembled, only to reveal parts of a completely different picture. An old fisherman, a mysterious man with two dogs and a a watcher outside a mosque all haunt Andre's path, together with a group of onlookers who appear to be spying on his movements. Is the man with the dogs Lale's husband, her father or her 'owner'? Are they all witnesses, accomplices or fragments from a fevered dream? Here, this land of secret gardens and mosques comes over as a city that isn't real: a city that sleeps only in the minds of those who succumb to its spell, and which awakes to confound any temporary sense of normaility and to block any attempt to find the truth. 'L'Immortelle' constantly slips out of reach, yet far from being a frustrating exercise, it's an entirely rewarding conundrum that will repay multiple viewings with fresh delights discovered, and heighten the feeling that this film is whatever you want it to be.

The moncochrome picture is a fitting showcase for Maurice Berry's lighting, with mosque interiors looking splendid and an abundance of fine detail in interior and exterior scenes. Viewers will do well to listen to Tim Lucas' splendid commentary track which takes a scene-by-scene approach to identify exactly what we should be looking for, and also finds time to provide information on cast, crew, production history and so much more. Tim also identifies some Hitchcockian touches; talks about Robbe-Grillet's career as a writer and his original casting choices. He also throws in a very apt and wonderfully descriptive line from his very own 'Throat Sprockets' novel. You should read it. Tim is also the editor of the essential 'Video Watchdog' magazine and, together with wife Donna, wrote the best book on film you're likely to read: 'Mario Bava: All The Colors Of The Dark'.

The commentary track is followed by a 32 minute Alain Robbe-Grillet interview conducted by Frederic Taddei. Here, the director talks about his thoughts on life and film; mentions Antonioni, Bunuel and Godard as directors who inspired him and the challenges posed by creating an imaginary city from a real one. He also goes into his experiences with the crew who were not slow to point out when he was asking the impossible, and how he took advantage of a police funeral to shoot a particularly striking scene.

Trans-Europ-Express 1966

Alain Robbe-Grillet's second feature can be accessed on this BFI release with an optional 6 minute introduction by his widow, Catherine. It's well worth taking this route to hear her talk about the production and to declare that her husband was seduced by a train - itself an important character in the film - and explain her own role as providing continuity, acting as a script girl and constantly making suggestions with regard to the screenplay.

'Trans-Europ-Express' sees the husband and wife team board a train going from Paris to Antwerp, and in discussion about shooting a film concerning the transportation of narcotics. When Jean-Louis Trintignant enters their carriage, an instant decision is made to cast him as their lead in what turns out to be a film within a film within a film. If the earlier 'L'Immortelle' saw Robbe-Grillet as a wet-behind-the-ears filmmaker, 'Trans-Europ-Express' brings him back to the chair two years older and wiser, possessing the confidence to lead his audience up blind alleys and dead ends with a multi-layered storyline and enough visual delights to keep you enthralled over any number of viewings. At the time, Trintignant was a hot ticket in cinemas throughout Europe, and his performance here as the drugs mule in a constantly changing storyline signals a declaration of intent in his collaboration with Robbe-Grillet: as we'll see, he turned in some sterling work for the director.
'Trans-Europ-Express' was no box office smash but it did prove to be one of Robbe-Grillet's most acclaimed films, keeping the audience on their toes with a plot that is distorted, deconstructed and rebuilt, only to move back into the same pattern. Secret agents, bombs, hollowed-out suitcases, locker keys that disappear and re-appear, a girl (played by Marie-France Pisier) a gun that Elias/Trintignant is warned not to use and explicit (for the time) scenes of bondage and not much French resistance by Pisier who plays host to her clients rape fantasies. The film plays with an undercurrent of humour which works beautifully as Elias goes through test after test, set by his paymasters to establish he's not working for the cops - witness the scene where he's interrogated and then set free to continue his journey - and some very clever use of mirrors and nods to classic spy capers.

The BFI's Blu-ray presentation exhibits a healthy grain structure, with good detail and is likely an accurate representation of the theatrical release. By now, the supplementary material is settling into a winning pattern, as Tim Lucas provides another informative commentary track. Early on, Tim notes that play-by-play commentaries can often be laborious, but that's not the case here. Indeed, a scene-by-scene deconstruction of this quality increases our understanding and admiration as Tim deciphers the playing of a piano as an analogy to the sounds of overheard sex; points out the prophetic magazine cover of 'The Man Who Died Four Times' (a journal purchased by Elias at the railway station) and both James Bond references (one in a magazine) and provides valuable career info on cast and crew. The finest analytical track I've heard and one that will be referred back to on many occasions.

Once again, the commentary is followed by a Robbe-Grillet interview, conducted by Frederic Taddei which runs for just over 31 minutes. The director declares his film to be the first shot on a real train, and recalls his fight with the distributors who deemed Trintignant to be an actor who emptied cinemas. He goes on to acknowledge the need to work quickly - the film was shot in 14 days - and explains why he likes to depart from reality, and also highlights scenes he now feels could have worked better. 'Trans-Europ-Express' was banned in Britain for 10 years by the BBFC, and its a real pleasure to experience its Home Video debut here in such splendid quality.

L'Homme qui ment (The Man Who Lies) 1968

'The Man Who Lies' can be accessed with or without a 6 minute introduction from Catherine Robbe-Grillet who explains why this film was shot in Slovakia, and recalls meeting Albert Marencin who set up the finance, and goes on to chat about the crew, including Slovaks who drunk their pay.
The films begins with Jean-Louis Trintignant being pursued through a wood by German soldiers.'The Man Who Lies' takes place during the second world war, yet Trintignant's character is dressed straight out of 1968 and introduces himself as Jean Robin; a man with a story to tell, and in need of an audience to seduce. Soon, Jean Robin becomes Boris Varessa aka 'The Ukrainian', who encounters three women and uses a web of deceit in an attempt to charm his prey. The women reside in a "house full of ghosts and forebodings": Laura (Zuzana Kocurikova) and wife of the real(?) Jean Robin; his sister Sylvia (Sylvie Turbova) and their maid Maria (Sylvie Breal) who are waiting for Jean to come home.

Boris claims Jean sent him and that he sprung Jean from jail and arranged for a doctor to tend his wounded friend who was hiding out in the forest. The women see Jean as a hero, but Boris paints an entirely different picture, presenting him as a coward and a traitor. But, who exactly is the coward? Who is the real traitor? Boris? Jean? Maybe the local pharmacist (played by Catherine Robbe-Grillet) who uses her store as a meeting place for the local resistance and apparently gives information to the German troops. As this film is full of lies - in sound, words and vision - it's both a challenge and a genuine pleasure to follow the search for a truth which may not even exist. Trintignant is again in marvellous form here, with gestures and facial expressions the counterpoint to words that enrage, hypnotise, seduce and betray those who may or may not be part of his story. This film is another prime example of the director playing games with his audience, leaving questions unanswered, and answers leading to more questions. Why does Boris put on and remove his jacket on four consecutive occasions? One for each of the women and one for Jean? Is the pharmacist really a traitor, as has Jean come back as a ghost, a victim seeking revenge or are all the characters part of a dying man's fever dream? Multiple viewings are most certainly required here, and the by-now customary interview and commentary track again repay dedicated listening.

The interview runs for almost 34 minutes, and the director and Frederic Taddei maintain their excellent rapport with the end result a fascinating discussion as Taddei is full of great questions and interesting theories. Robbe-Grillet explains why war memorials were not there to tell the truth; why his film was a flop at the box office, and its connections with Kafka and Pushkin. We also hear about his favourite scene in the film and there's a few words also on his 'The Last Days Of Corinth' autobiography.
Tim Lucas' commentary track once again excels, covering sound design, career resumes for the main actors, the significance of the hair cutting scene and talks about the director's novels. Once again, Tim's commentary mixes play-by-play with telling observations and interpretations - a soldier reading Pravda (Truth) which had not yet been published - and tells us the film was broken into segments. I'll leave you - the viewer - to listen to this explanation and then watch the film again, hungry to see how the director's methods play out. Picture quality on this monochrome feature is excellent, with fine detail that really stands out in HD and a nice grain structure.

It's worth pointing out that the director's future output would be influenced more by paintings than novels, and some striking artwork appears in this film, perhaps pointing the way to what lay in store.

L'Eden et apres (Eden And After) 1970

Once again, viewers can opt to play the film with a seven minute introduction from Catherine Robbe-Grillet, who explains the first half of this film was shot in Bratislava and the second half in Tunisia. We hear how Alain lost two teeth to a knuckleduster, and learn of the only time he was unfaithful to her.
The 'Eden' of the title refers to a student cafe where bright young things congregate to role-play, consume drugs and invent stories to propel them on wild flights of fancy. Sexual violence is just one of the themes on offer in a world of broken glass, mirrors (both of which are recurring themes in the director's films), blood red makeup and blindfolded women who echo Robbe-Grillet's previous film. Violette (the remarkable Catherine Jourdan) is at the centre of this exotic, erotic maze, where a stolen painting and the arrival of a mysterious stranger known as Duchemin (Pierre Zimmer) - possibly based on 'The Flying Dutchman' - propels events to the island of Djerba in Tunisia, triggering or creating for Violette the memory of the same location viewed in a travel film at the cinema.

Yet again, Robbe-Grillet has delivered a thoroughly absorbing and hugely challenging film, full of doubles whether it's Violette and her Tunisian twin; the Cortez brothers who grapple in the blue Tunisian sea; the placing of the director's wife as a lecturer, a guide and a witness or the factory pipes which resemble the straws used to draw lots in an earlier scene. It's mentioned in the excellent booklet accompanying this set (more on that later) that Alain Robbe-Grillet belongs more to the territory mined by Jess Franco and Jean Rollin ttan any French 'New Wave-group and I'd agree. In fact, 'Eden And After' with its scenes of vampire-esque decadence, death, women in chains and exotic locations does, at times, remind me of the late Franco's wonderful world. As before, this film certainly demands multiple viewings to assemble and re-assemble your thoughts. Is the Eden cafe a haunted house, with its attendant spirits doomed to continue their quest for all eternity? Does Violette ever leave the confines of the cafe, with Tunisia the product of a dream or perhaps it's the dying memories of an old woman mixing relaity with cruel fantasy, longing with dread? Whatever your take may be, you'll certainly applaud Ms Jourdan who invests the film with energy and a presence that will haunt you long afterwards. 'Eden And After' is a wholly unsettling affair that's true to the director's manifesto, and very much a box of secrets whose key can never be fully turned. In many ways, it's my current favourite of the films on offer here.

'Eden And After' was Alain Robbe-Grillet's first colour feature, and image quality is a delight here with the blue sea and white Tunisian sands coming alive, while the steel and glass cafe Eden looks cool and polished and fleshtones are robust.
Tim Lucas again takes the microphone for a commentary that is an essential guide to this film. He reveals that 'Eden And After' was broken into segments with twelve generating themes which he identifies and explores. He discusses the significance of the number 8 in this film (which re-occurs in the director's books and films); goes into more detail regarding the director's affair with one of his actresses; talks about the inspiration from paintings that influenced this film and tells the story behind the casting of Violetta's double. We also learn the editing process - rather fittingly - took eight months and appreciate the helpful inclusion of cast info.
Another interview conducted by our old friend Frederic Taddei follows (lasting 31 minutes) which covers the director's discovery of colour (and his hatred of green), the reason why he shot an alternate take of the film, and his experiences at the Berlin Film Festival. It's clear Robbe-Grillet and Taddei enjoyed a great rapport with much mutual respect, and it's another half hour that simply zips by.

N. a pris les des (N. Took The Dice) 1971

This 79 minute gem is an edited version of 'Eden And After' which incorporates new footage and outtakes and is narrated by one of the Cortez brothers ( Richard Leduc) who notes the orderly fashion of television dramas with strict rules, designed to put you to sleep. Three dice are rolled, with the numbers adding up to twelve (the number of generating themes) and Catherine Jourdan's character is referred to as 'Eve' because he can't remember her 'real' name. Eve/Violette meets her Tunisian double early in the film, with a postcard the object of her attentions, depicting the same scene as the painting from 'Eden And After'. There are some beguiling variations to savour here: the factory scene is a case in point where the brightly painted interior plays host to particles of sand descending from the ceiling, echoing the beach in Tunisia, while the character of Duchemin again has an encounter with a truck, but this time with a different outcome.

Robbe-Grillet, together with the skills of Bob Wade (his trusted editor) fashioned an alternate cut that poses even more questions and stands as an absorbing companion piece. In many ways, 'Eden And After' is my current favourite in this boxset, and 'N. Took The Dice' mirrors its power, like a recurring dream with information both added and omitted.It came about as a result of a deal to produce a second film for French television, presenting challenging late-night viewing. Richard Leduc concludes his narration by summing up beautifully the films of his director. Ultimately, the viewer decides the meaning of the film in question, and interprets dialogue, actions, reactions, cause and effect, sound and extraordinary vision. The films are whatever you want to see, whatever you want them to be, constructed of your deepest, darkest desires and things you may not wish to be privy to. I think of 'N. Took The Dice' as a memory of the future: an anticipation of things yet to happen or a primordial longing for excitement, travel and adventure that proves to be the stronger.

With this excellent Blu-ray transfer, we can savour the art design of this film as well as freeze-frame any part we desire. Practically any fame examined comes over as a painting in its own right, thus heightening our appreciation of what was accomplished here. The same can be said for the last film in this collection. Still open to interpretation and analysis after all these years and at last available to new and already existing audiences.

Glissements progressifs du Plasil (Successive Slidings Of Pleasure 1974

And so we come to the last film in this collection, shot over a 16 day period for a fixed budget of 50,000 Francs. Catherine Robbe-Grillet provides a six minute introduction, explaining how lead actress Anicee Alvina came to her attention in a Belgian film titled 'The Beguines' and seemed perfect for her husband's film. We also hear about the challenge set to film on a fixed low budget.

Broken glass, a bloodied mannequin, a naked woman splayed across a wheel... just a few of the uncomfortable images that inhabit the opening minutes of this film. Anicee Alvina - just 17 years old at the time of filming - appears as an unnamed woman (known as 'The Prisoner' in the BFI booklet credits)who takes on the established order of police, church and law when her friend Nora (Olga Georges-Picot) is murdered. Was a black-gloved intruder responsible for her death, or did her friend and occasional lover commit a crime of passion? The severe trauma of seeing her teacher fall from a cliff during a school outing (watch out for Isabelle Huppert as one of the pupils) may well have marked her for life, though her body language and expressions suggest she willed her teacher to fall. Her tempestuous relationship with women and the way she disintegrates the established order are but two key themes in a film full of disjointed rhythm, dislocation of time and space and objects which reoccur in Robbe-Grillet's work: a blue shoe which is supposed to act as a talisman against bad luck which resurfaces at one point under a mound of earth; a bottle washed up on a beach - minus any message inside - that will be broken and re-assembled, only to be smashed again during some intensely erotic scenes; the breaking of eggs ala 'Eden And After' and the religious prison that twins Robbe-Grillet with a particularly perverse period in history. There's so much going on in this film that a single viewing is a million miles away from even scratching the surface: a lawyer who is initially identified as Nora by the prisoner and then as the defendant by the priest; arresting images of nude body art inspired by Yves Klein's 'Anthropometries In Red' and a scene reminiscent of an encounter between Regan and the priest in 'The Exorcist'.

Robbe-Grillet is the man who lies yet again, or maybe he's just experimenting with various scenarios and outcomes, manipulating and re-moulding his characters to play with deep-seated fears and desires. Witness the relationship between the prisoner and Nora who she claims is cruel to her and scares her by playing dead, and then consider the shoe may well be on the other foot. That if the state trinity can be broken down by one individual, the nothing, no-one is immune to seduction and distortion. Not even us. Especially not us.
The role of the police is particularly interesting to consider, especially if one views the events as a fantasy of the police inspector (played by Jean-Louis Trintignant) who takes a case of stalking and break-in as a vehicle to play out fantasies which can be re-enacted with different outcomes.

The Blu-ray transfer of this film again excels, with a nice layer of grain, fine detail and perfect fleshtones. It's a real pleasure to view these films, at last, in high definition and thanks go to all those involved.
The final interview here with Robbe-Grillet and Frederic Taddei runs just shy of 32 minutes. Taddei begins by declaring this was a time when French Cinema went naked, with 'Last Tango In Paris' and 'Emmanuelle' joined by 'Successive Slidings' as forays into erotic cinema. We learn the film was the result of a bet and to be shot on a strict budget with static shots and no depth. Robbe-Grillet talks about Anicee Alvina, her openness and the problems both of them faced with regard to dialogue. We also discover that some scenes were shot in a cell once occupied by the Marquis de Sade, and of the mark of Jean Robin in this place of incarceration. The director again pays tribute to Jean-Louis Trintignant who worked for no fee on this film, and of the inspiration of art on this picture.

For the final time here, Tim Lucas delivers an excellent commentary track, drawing parallels between Robbe-Grillet and Mario Bava, and later mentions Jesus Franco and Jean Rollin: a quartet of great directors sadly no longer with us. Tim covers the Cine Roman's that accompanied some of the films; addresses censorship problems and critical reaction in France and the US; explains that Nora was painted as St Agatha and goes on to tell her story, and indentifies the whistling outside the cell as an accompaniment to workmen building a guillotine. We also get career resumes of the main actors, and an abundance of insightful comments and theories that will increase your appreciation and understanding. Tim ends by asking "Shall we watch it again?" which is exactly what I felt like doing.

One interesting point about this collection of films is there are no chapter stops, prompting the viewer to always view a particular film in one sitting; a wise action to take as these are not films to be dipped into but rather experienced as a whole. The BFI have provided theatrical trailers where possible, and an excellent booklet with credits and an essay by David Taylor which discusses Robbe-Grillet's novels and films. The booklet also contains Claire Johnston's review of 'Trans-Europ-Express' which appeared in the Monthly Film Bulletin, August 1969, and Robbe-Grillet's 'Contract Of Conjungal prostitution': a 5 page document outlining what was expected of his wife during their sadomasochistic sessions. It was a contract Catherine never signed.
With the help of the commentary tracks and interviews, heightened understanding of these films is now possible, and I'd respectfully echo Tim's wish that this collection may help prompt the translation of Robbe-Grillet's remaining books into English.
Probably the most important Home Video release of 2014, as far as the UK is concerned.

Dr Phibes Blu-rays Final Spec

Arrow Video will release 'The Abominable Dr. Phibes' and 'Dr. Phibes Rises Again' on Blu-ray on 16th June. You can read the final spec for these releases below. I'll be covering this release later this month.

Arrow Video is thrilled to announce the limited edition release of The Complete Dr.Phibes, which will include both The Abominable Dr.Phibes and its sequel Dr Phibes Rises Again. These exclusive sets will be limited to a run of 3000 copies only and include a 100-page collector’s booklet

“What more could a horror freak desire?” asked Motion Picture Guide of The Abominable Dr. Phibes back in 1971. Arriving on Blu-ray for the first time in the UK on the 9thJune, The Abominable Dr.Phibes sees Vincent Price in one of his signature roles, playing the wealthy and mysterious Dr. Phibes, a mad, disfigured genius, who elects to wreak revenge on nine doctors who failed to save his beautiful wife with a murderous campaign inspired by the Ten Plagues of Egypt. Phibes requires an elimination of disbelief more than a suspension of it. Filled with wonderful Art Deco sets, dark humour and a legendary performance by Vincent Price, The Abominable Dr.Phibes and its sequel Dr Phibes Rises Again have since gone on to become classics.

Featuring a bumper crop of fantastic extras, this exclusive set will include Dr. Phibes and the Gentlemen, an all-new discussion with the League of Gentlemen in which they fondly recall these two British horror classics, the featurette Daughter of Phibes in which Victoria Price discusses her father Vincent Price’s career and The Doctor Will See You Now, an interview with Vincent Price’s biographer, David Del Valle.

Alongside this, the Blu-ray extras include two audio commentaries on The Abominable Dr. Phibes, the first with the late director Robert Fuest and the second with Dr. Phibes creator William Goldstein, moderated by his son Damon Goldtsein, curator of the official Phibes website. Dr. Phibes Rises Again includes and an audio commentary with critic and author Tim Lucas.

The discs will also include the original trailers for both films, plus an exclusive 100-page collector’s booklet featuring new writing on the films by Julian Upton, Martin Jones, Justin Humphreys and Jonny Trunk alongside the on-set recollections of Caroline Munro, plus interviews with Tim Burton and AIP publicist Milton Moritz.

Special Edition Contents

Limited edition boxed-set (3000 copies) containing both films and 100-page collector’s booklet
High Definition Blu-ray (1080p) presentation of The Abominable Dr. Phibes and Dr. Phibes Rises Again, transferred from original film elements by MGM
Original uncompressed 1.0 Mono PCM Audio for both films
Optional English SDH subtitles for the deaf and hard of hearing for both films
Audio commentary on The Abominable Dr. Phibes by director Robert Fuest
Audio commentary on The Abominable Dr. Phibes by the creator of Dr. Phibes, William Goldstein
Audio commentary on Dr. Phibes Rises Again by critic and author Tim Lucas
Dr. Phibes and the Gentlemen – The League of Gentlemen fondly recall a pair of British horror classics
Daughter of Phibes – Victoria Price discusses Vincent Price’s career
The Doctor Will See You Now – an interview with Vincent Price’s biographer, David Del Valle
Original Trailers for both films
100-page collector’s booklet featuring new writing on the films by Julian Upton, Martin Jones, Justin Humphreys and Jonny Trunk, the on-set recollections of Caroline Munro, plus interviews with Tim Burton and AIP publicist Milton Moritz, all illustrated with rare and original archive stills.

Blu-ray Review: Re-Animator (Second Sight)

Stuart Gordon and Brian Yuzna first met one year before collaborating on Re-Animator. Gordon, like most of his eventual cast, began his career in theatre and wanted to move into film. He was advised one of the easiest genre's to attract financial backing was Horror. Yuzna wished to move into this area and so 'Re-Animator' was born, after a friend of Gordon's suggested HP Lovecraft's 'Herbert West Re-Animator' as an ideal source. The film takes place at Miskatonic Medical School in Arkham, Massachusetts, where Herbert West (Jeffrey Combs) begins his tour of duty as a new student who accuses Dr Carl Hill (David Gale) of plagiarising the work of an old professor and exposoing his students to arrant nonsense. The arrogant West is experimenting with the aim of bringing dead bodies back to life via a luminous green serum, and soon hooks up with Daniel Cain (Bruce Abbott) who is more dedicated than the average student to preserving life.

Cain is currently dating the daughter of medical hotshot Dean Halsey (Barbara Crampton, Robert Sampson) and his relationship with Megan is immediately jeopardised by West's bad influence. When West moves into a vacant room in Cain's residence, the tension is ramped up to the max, and his unholy medical practices continue by killing Megan's cat and injecting it with his life restoring serum. Soon, West turns his attention to the bodies in the morgue, and really succeeds in his re-animation technique when he finds freshly deceased bodies yield the optimal results.

Driven by Richard Band's Herrmann-esque score,this fast-paced film really moves into overdrive as the everyday deceased are joined by medical colleagues and associates whose initial taste of the afterlife are measured in scant minutes, resulting in a crowd-pleasing orgy of re-animated beings, complete with buckets of blood and a side serving of wicked humour which breaks the tension until the next gross-out comes along to assault the senses. ''Re-Animator' is more than just a cult classic to be exhumed once a year at drunken all-night movie binges. It's a genuine Horror heavyweight, with drive, wit and some imaginative special effects. The cast score highly, too, with Crampton coming over a an intelligent heroine; Combs as the brilliant medical deviate and Gale and Abbott in combat as love and hate figures, while Sampson thrashes around and ultimately proves that the father-daughter bond can never be truly severed.

This really is a special film about the bridge between life and death, professional jealousy and sabotage and the way relationships can break down and renew, all mixed in with a brand of classic horror that lived up to the director's declaration of intent to exceed recent Horror classics.

Admirers of this film will be delighted with Second Sight's 2 disc special edition Blu-ray which presents this film in a 4k restoration for the 86m 6s unrated version and the Integral version which runs for 104m 56s.
The Integral version is a combination of the unrated and R versions with television footage and is well worth a view. Additional footage includes a disagreement between Dan and Megan, Hill dreaming of winning the Nobel Prize and Dan talking about turning himself in. Image quality is slightly better on the unrated version which looks crisp with good definition and will delight fans of this film.

On the question of supplementary material, Second Sight's two disc set scores highly, beginning with two commentary tracks. On the first, Stuart Gordon takes the microphone, holding forth on both professional and personal levels. We hear that Gordon's father died while he son was in his teens, and how Stuart had a dream about his father coming back from the dead; he explains why Bruce Abbot's role was the most difficult to tackle, and why Barbara Crampton went ballistic at a Fangoria convention. We also learn that several crew members had just come back from working on 'The Terminator' (James Cameron's father is identified by Stuart in a brief appearance) and the fact that 'Re-Animator' was ahead of its time in certain medical procedures is amplified. It's a splendid commentary and joined by a producers and actors commentary, with Yuzna, Crampton, Sampson, Combs and Abbott. This track goes pretty much the way one would expect from such a gathering, with some great anecdotes and in-jokes. Not a track I'll be returning to anytime soon, but if you like this sort of thing, you'll be hooked.

Next up are a series of interviews recorded in 2002, beginning with a Gordon/Yuzna double-header which ruins for 48 minutes. We get to hear about the different script versions, lawsuits, Combs' audition, a nice Roger Ebert story and the amazing audience reaction at test screenings.
A 10 minute Dennis Padi interview is next on the agenda, which covers his approach to script writing; the way the script evolved and a dream sequence that didn't quite work out.

Composer Richard Band is next out of the blocks with 2 interviews. In the first - which runs for 14 minutes - he tells of disagreements with Gordon, his decision to twist motifs and themes from the 'Psycho' score, and his thoughts on the finished product. In the second interview (16 minutes), Band selects 4 scenes and discusses his musical approach and the choices he made. Fascinating, and my current favourite amongst the extras. Fangoria editor Tony Timpone rounds off the interviews with a brisk 4 minute chat which includes memories of meeting Yuzna and his first week at the magazine which coincided with a screening of 'Re-Animator'.

'Re-Animator Resurrectus' follows, being a 68 minute documentary featuring Gordn, Yuzna, Crampton, Abbott, Combs and other cast and crew members. There are some nice visual touches such as make-up script directions, effects tricks of the trade and on-set photographs, together with recollections of how much DOP Mac Ahlberg assisted and advised Gordon, and why the opening scene was re-shot despite lack of funds. It's a fine documentary and is dedicated to David Gale who, sadly, passed away in 1990. The extras also include over 21 minutes of extended scenes, including Dan asking Megan to move in with him and Dr Hill warning Halsey about Cain and West. A deleted scene follows running for almost 3 minutes, with a naked Megan reacting to an injection. The package is rounded off with trailers and behind-the-scenes and production stills.

'Re-Animator will be released by Second Sight on 2nd June and consumers can choose from a standard Blu-ray, a steelbook or a DVD. This film really did cross the line when it was released in 1985 and still packs one hell of a punch today. Highly recommended for die-hard fans and the new generation who demand hard-hitting Horror Cinema.

Blu-ray Review: Pit And The Pendulum

Made in 1961, Roger Corman's 'Pit And The Pendulum' was shot on a budget of $270,000; $50,000 of which went to Vincent Price who turns in a gem of a performance as Nicholas Medina. A Spanish castle is the setting for this wonderfully atmospheric take on Edgar Allan Poe's story, as Francis Barnard (John Kerr) arrives in search of the truth regarding the death of his sister Elizabeth, played by Barbara Steele. Elizabeth died at the age of 29, and the cause of her untimely demise lie within the castle walls, and can only be conveyed by Nicholas, his sister Catherine (Luana Anders) and family physician Dr Leon (Antony Carbone). The initial explanation that Elizabeth died from "something in her blood" proves wholly unsatisfactory, and Barnard resolves to uncover the truth come what may. His quest is punctuated with flashback sequences containing fragments from the tortured past of Nicholas, who is locked in a public world of grief over Elizabeth's passing and who believes she has returned from the grave to wreak vengeance. Certainly, the strains of music coming from the harpsichord she so loved to play suggests her unquiet spirit resides in the castle.

Corman's film essentially plays out in three acts, with the third based on Poe's story which would have proved insufficient to fill and 80 minute feature. Richard Matheson did a fine job with the screenplay, which presented a considerable challenge and one he rose to admirably, throwing a dose of Freudian angst into the mix by painting a lurid picture of Nicholas' father whose personality will reach out to the living in a terrific final act. Matheson's work here is exceptional, and the same can be said for the art department and effects work, along with the skills of DOP Floyd Crosby. Those beautiful matte paintings, sumptuous set designs and macabre splendour of the halls and passageways really do make this film a feast for the eyes, while the cast - particularly Vincent Price - step off the pages of Matheson's script and mostly deliver. It's true that some reviewers have charged Price with a hammy, over-the-top performance, but I feel this is unfair as the range of emotions demanded by his two roles are perfectly conveyed.For me, John Kerr's performance is the odd one out, though I have tuned in a little better to his turn down the years.

'Pit And The Pendulum' is one of those films that induces a warm glow with each viewing. It's delights are many, and guarantees repayment of the admission fee tenfold; not least for a scene that culminates in one of the shock moments in horror film history.

Arrow Video chose well when adding Corman's film to its ever-expanding Blu-ray catalogue. Here, the intricate designs, fabulous sets and top-notch photography really do come alive in a transfer that illustrates the talent at the director's command. Fleshtones are particularly strong - Barbara Steele in particular looks amazing - and a fine Les Baxter score plays out in the original uncompressed mono PCM audio: Baxter's score can also be enjoyed in an isolated music and effects track. With sound and vision admirably catered for, Arrow have gone a few extra miles by adding some valuable supplementary material. First off is a Roger Corman commentary track, where Roger recalls the 14 day shoot, fleshes out the differences between Pit and its predecessor 'The Fall Of The House Of Usher' and chats about William Castle, Hammer Films and his admiration for Vincent Price. He explains why some of his directorial choices were designed to unsettle rather than shock, and of the techniques employed to give his film greater depth. It's a rewarding talk, which is followed by a commentary track from Tim Lucas: editor of 'Video Watchdog' magazine and author of the weighty Mario Bava tome which is the finest book on film you'll ever read. Tim begins by reading aloud Matheson's voice-over from his script, and goes on to take us through the effects work, explaining who did what and pays tribute to key participants, including Les Baxter whose score, Tim believes, represents his best work for AIP. We also get the lowdown on Luana Anders' connection to Jack Nicholson; references to Dario Argento's 'Trauma' and 'The Horrible Dr Hichcock' and a wonderful statement that "The house is a layered map of Medina's mind". Tim's commentary track was recorded on the 205th anniversary of Poe's birth. Watch the film, listen to this commentary and watch the film again with fresh eyes.

Next on the agenda is 'The Story Behind The Swinging Blade': a 43 minute High Rising Productions feature, containing video contributions from Roger Corman, Barbara Steele, Vincent's engaging daughter Victoria, Brain Yuzna and David Del Valle. Corman chats about 'Pit' and 'Usher'; why he chose Richard Matheson to write the screenplay and has a delightful story to tell about John Kerr and the pendulum. Barbara Steele holds forth about her relationship onset with Vincent Price and has excellent recall of the shoot, while Victoria Price is a joy to listen to with her stories about her late father. There's also good input from Brain Yuzna and David Del Valle who sets out Price's legacy in exquisitely moving terms. 'An Evening Of Edgar Allan Poe' follows, being a 53 minute made for TV production from 1970. 'Evening' is a one-man show starring Vincent Price and taking in a quartet of Poe stories:'The Tell Tale Heart', 'The Sphinx', 'The Cask Of Amontillado' and 'Pit And The Pendulum'. Price's performances convey the tortured genius at the dark heart of Poe's work, creating a charged atmosphere of dread. My own favourite - 'The Tell Tale Heart' - is set in the quiet, desolate hours of the night and works supremely well; do watch out for the scene where a crazed Price takes up the floorboards and reaches inside, his hands slowly emerging, clutching .....
'Evening' appeared on the American DVD of 'Tomb Of Ligeia' and is a nice bonus feature here.
A 5 minute added television sequence follows, shot in 1968 when this film was sold to television and found to be too short for its two hour time slot. Luana Anders was the only cast member available, and appears here telling her story in an asylum. Tim Lucas notes in his commentary that Anders, seven years on, seems a better actress and it's a good point.
The original theatrical trailer rounds things off as far as the disc is concerned, but Arrow Video have included a booklet contains photographs, notes about the transfer and a Jonathan Rigby essay titled 'The Waiting Pit Of Hell'. Jonathan's piece provides an excellent overview of production history, its influence on other films and concludes by recognising its place as "an enduring Gothic masterwork".

'Pit And The Pendulum' is available to buy now, and you can choose between a standard Blu-ray or a nifty steelbook. For sure, this will find its way on to many 'Best Of The Year' lists.

Blu-ray Review: Robocop 2014

In 1987, Paul Verhoeven's 'Robocop' assaulted cinema goer's with its savage, satirical vision of future law enforcement. Now, the ubiquitous remake train has arrived at this particular station, with the action remaining in Detroit but taking place in the year 2028. With almost every country in the world using robots to wipe out crime, America maintains its robophobic stance, thanks to the Dreyfus Bill which outlaws these crime fighting machines. Raymond Sellars (Michael Keaton) is determined to gain acceptance for his Robocop prototype, but needs a product the public will love: a product with a conscience, so why not put a man inside the machine? A being with emotions that knows right from wrong, and can identify with the people it is there to protect. Dr Morton (Gary Oldman) constructs the first Robot/man hybrid when police officer Alex Murphy (Joel Kinnaman) arrives at his clinic, the victim of a car bomb planted by accomplices of crime lord Antoine Valon. Murphy suffered 80% 4th degree burns and his lower spine was severed. Wife Clara (Abbie Cornish) and son reluctantly bid farewell for now, as Alex undergoes a change that will threaten to decimate this tight family unit.

Of course, the remake is, in many respects, a different animal to its illustrious predecessor. Gone are the bloody impact squibs of the original, replaced by toned-down conflict, though rest assured there are plenty of hi-tech gun battles on display. We also get a more agile Robocop this time round, boasting an increase in hardware and a Cruiser 1 motorbike which gets from A-Z at a speed of 248 mph. Murphy's family is also more prominent here, with his wife and young son part of an emotional tug of war with a powerful and ruthless corporation on the other end of the rope. Director Jose Padilha has constructed a tightly-wound action picture that works well in its own right, and he's helped by an excellent cast. Gary Oldman as the genius who never loses sight of the human being inside the machine; Michael Keaton emerging as a man you'll most surely love to hate, scheming and double-crossing in a film that's packed with police corruption, political agendas and some nifty action scenes. The character of Alex Murphy is beautifully portrayed by Joel Kinnaman, and do watch out for Samuel L. Jackson who keeps popping up as the propaganda-flinging presenter on Cable TV.

It's inevitable there will be fans of the original film who dislike the remake for a number of reasons - including its very existence - but I believe it will win over a fair percentage of would-be detractors and certainly gain a new generation of fans who have yet to see Verhoeven's movie. 'Robocop 2014' is an intelligent, fast-paced modern action film, with some great chase sequences through rain-drenched neon-lit Detroit streets, impressive visual effects and ferocious gun battles: check out the frenetic training session where Robocop attempts to repel a crack squad led by odious Rick Mattox (Jackie Earle Hayley) which plays out perfectly to the strains of 'Hocus Pocus'. I hope those yet to see the original will seek it out, and that die-hard fans of Verhoeven's film will check out the remake. There is ample room for both to flourish.

Studio Canal's Blu-ray presentation offers a splendid incarnation of this film, with strong colours, nice inky blacks and the detail and clarity one would hope for from a recent cinema release.
The extras begin with 5 deleted scenes which run for a total of approximately 4 minutes. While it's debatable whether any of those scenes would have improved the finished product, it's particularly interesting to witness the Mayor of Detroit expressing concern over possible re-election and to see yet more PR spin at work. The second batch of extras take the form of 10 information segments which run for a total of approximately 3 minutes. Here, the M2 battle rifle, the amazing Cruiser 1 motorbike and the TSR handgun are amongst the technology under the spotlight, reminding us of the technology at Robocop's disposal.
'The Illusion Of Freewill' follows, being a 7m 46s featurette where director Jose Padilha reveals he asked to direct 'Robocop' after being offered several other films. Jose - a trained physicist - wanted to reach a broad audience with his film, and producer Eric Newman and production designer Martin Whist are also on hand to talk about this process.
'To Serve And Protect' runs for 6m 5s and focuses on the weapons at Robo's disposal. Joel Kinnaman reveals he underwent intensive firearm training, eventually being able to hit a 3ft target from 135 yards with a handgun. The design of the Cruiser 1 is also discussed; an important string to Robocop's bow that underwent many changes.
The final featurette is 'The Robocop Suit' and runs for 14m 54s. Here, key personnel (including Kinnaman) chat about important aspects such as freedom of movement, and their collective desire to remain respectful to the original; an ideal that runs through the entire film.

'Robocop' 2014 will be released in the UK by Studio Canal on 9th June and will be available in a standard Blu-ray case or a classy looking steelbook.

DVD Review: Sisters (Arrow Video)

Released in 1973, Brian De Palma's 'Sisters' remains one of his most deliciously voyeuristic outings, beginning with a nod do the title of Michael Powell's controversial film with a TV show named 'Peeping Toms'. The premise is setting up unwitting members of the public in a similar way to 'Candid Camera': in this case, the audience watch the victim watching an apparently blind woman getting undressed to see if he stays the course, or does the right thing and bales out early. Philip Woode (Lisle Wilson)shows chivalry is not entirely dead and exits stage left, going on to start a relationship with Danielle Breton (Margot Kidder); a French Canadian in New York who appears to be a sweet natured beauty with perfect sight. Danielle, however, comes with some rather sinister family baggage: ex-husband Emil (William Finley) is stalking her, and the suggested presence of her Siamese twin Dominique threatens to call time on her sisters new relationship.

'Sisters' has often been accused of being little more than a film full of Hitchcock riffs - a fate shared by other De Palma films. While it's true that 'Sisters' contains nods to 'Psycho', 'Rear Window' and 'Vertigo' amongst others, it successfully builds on visual and thematic links to emerge as a strong film in its own right. The concept of sitting in the dark watching people on a big screen is voyeuristic in itself, but here we have Grace Collier (Jennifer Salt) watching a murder victim smear a blood message on the window opposite just before he dies, and teaming up with private detective Joseph Leach (Charles Durning) when the police refuse to believe a murder took place.

An uneasy sense of being privy to murder and madness in the lives of others is heightened by De Palma's use of split screen, providing additional information to scenes we'd maybe rather not witness but are utterly compelled to watch. The idea of Siamese twins containing a fiercely dominant personality in which darkness edges out the light works wonderfully well here, due in large part to Margot Kidder who turns in some of her very best work in this film. 'Sisters' is certainly not for the faint-hearted, with its bloody murder scenes, brilliant, deeply unsettling set-pieces and rousing Bernard Herrmann score, but it's one of De Palma's finest films and will doubtless win new admirers with Arrow Video's dual-format release.

I received the DVD part of the package (due to a Royal Mail foul-up), and can report that Arrow's presentation is the best I've seen of this film to date, with robust colours,a nice level of detail and grain in the appropriate areas.
Once again, Arrow have done us proud with regard to supplementary material, beginning with 'What The Devil Hath Joined Together: A Visual Essay'. This is a 45 minute feature where Justin Humphreys traces production history, and explores the themes of 'Sisters'. As well as the Hitchcock connection, Justin also highlights the influences of other directors, and goes into the De Palma/Herrmann relationship which yields quite a surprise.

Next on the agenda are cast and crew interviews, which run for over 45 minutes. First up is Jennifer Salt who recalls the roles of Grace and the twins were Christmas presents from De Palma to Kidder and herself. Salt goes on to recall the shoot, including a frenetic last day of filming which turned out to be quite literally a 24 hour shoot.
Louisa Rose, wo co-wrote the script, is next up. Rose charts her beginnings as a writer; her approach to her craft, goes on to declare there was no inspiration drawn from Hitchcock on her part, and remarks she found it interesting to write a script featuring a different kind of killer to the norm.
Paul Hirsch served as editor on 'Sisters', and reveals his first job (De Palmas' 'Hi Mom!')was gained through nepotism. He was actually hired fairly late in the day for 'Sisters', and can lay claim to being the one who suggested his director enlist the services of Bernard Herrmann. Hirsch also explains just why voyeurism is a central part of many of the director's films.
Jeffrey Hayes was the unit manager on 'Sisters' which became his debut feature, and recalls various aspects of the shoot, together with his work on De Palma's 'Phantom Of The Paradise'. Lastly, an excerpt from an audio interview with William Finley is included here, mentioning his early days; his friendship with De Palma and his character in 'Sisters'. All the video interviews were recorded and edited by the High Rising Productions team of Calum Waddell and Naomi Holwill, and provide illuminating additions to this package.

'The Brian De Palma Digest' is a 29 minute excursion through Brian De Palma's CV, written and narrated by film critic Mike Sutton, who reveals 'Dionysus In 69' marked De Palma's first use of split-screen photography. Mike's appraisal of a fine body of work contains great insight, and is absolutely guaranteed to compel you to revisit old favourites and to seek out any titles you have yet to see. A theatrical trailer and gallery of poster designs round things off nicely. Arrow have also included a booklet containing a quartet of essays. The fist is 'The Reflecting Eye:Seeing Double in Brian De Palma's Sisters' by Kier-La Janisse. This beautifully written essay traces De Palma's film back to his earlier output and addresses its psychiatric and medical concerns, acting as a thorough overview of the key onscreen events. 'The Making Of Sisters: An Interview With Brain De Palma' is a reprint of a 1973 De Palma interview with 'Filmmaker's Newsletter', where De Palma discusses technical aspects of the production, including split-screen, his aim in making 'Sisters', the budget and other aspects of the shoot.
'Murder By Moog: Scoring The Chill' is a De Palma article that originally appeared in 'Village Voice on 11th October 1973. Here, De Palma explains how his editor jolted him by adding cues from 'Psycho' to the soundtrack and suggesting Herrmann should be approached to score the film. De Palma has some fascinating stories to impart regarding Herrmann, making this an immensely satisfying read.
'Rare Study Of Siamese Twins In Soviet' is reproduced from an article in 'Life' magazine, dated back to 1966. This tells the story of Masha and Dasha, the Siamese twins that inspired De Palma to make 'Sisters'.

This informative booklet ends with a few words about the transfer. Read the whole thing after you have viewed the film, and then watch the film again with increased understanding and appreciation.

'Sisters' is available to buy now, and is highly recommended as a solid purchase of a film that continues to haunt the mind some four decades on.

The Legend Of Hell House

"May you find the answer that you seek. It is here, I promise" Emeric Belasco.

Welcome to Hell House. The "Mount Everest of haunted houses" according to Dr. Barrett ( Clive Revill), who accepts a challenge from businessman Rudolph Deutsch ( Ronald Culver) to produce evidence of survival after death. Accompanied by his wife Ann (Gayle Hunnicutt), and mediums Florence Tanner (Pamela Franklin) and Ben Fischer (Roddy McDowall), Barrett's party enter the house on 20th December, intending to remain there for 5 days and collect £100,000 for a positive result.

I suppose it's entirely reasonable to compare The Legend Of Hell House to what could be termed the 'Mount Everest' of haunted house movies: I refer, of course, to Robert Wise's The Haunting. Both films pitch their audience into a house allegedly alive with psychic phenomena, where a team of investigators will attempt to deliver irrefutable proof that the spirits of the dead are often unwilling to depart from the land of the living.

For me, the most fascinating similarity between the two films is that neither Hell House nor Hill House provide the aforementioned evidence. In short, the various events that take place may well have been unwittingly (The Haunting) or intentionally (Hell House) caused by the living, rather than the dead.

We'll take a look at The Haunting some time soon, but let's concentrate on the house owned by Emeric Belasco which, years earlier, played host to vampirism, sadism, necrophilia, drug addicition, orgies and other unsavoury activities. In 1927, just 8 years after the house was built, Belasco disappeared without trace and Hell House was boarded up for over 20 years, with its master missing presumed dead. During two attempts to discover whether Belasco really was responsible for the reported ghostly manifestations, eight people died: on both occasions, Ben Fischer was the only person to emerge in one piece.

As the film progresses, Dr. Barrett's expedition appears to encounter a barrage of supernatural phenomena, including a ferocious assault where the good Doctor has practically everything bar the kitchen sink thrown at him, and a spine tingling seance that really sets the nerves on edge when Florence begins to speak with a gruff male voice apparently belonging to Belasco's son, Victor. Later in the film, Florence is attacked by a supposedly possessed cat and allows Victor's spirit to have sex with her, while Dr. Barrett's wife - also seemingly possessed - invites Ben to get down and extremely dirty with her.

As with The Haunting, there are some very strong human emotions gathered together here: fear, sexual repression, rage, jealousy.....enough to move mountains, never mind a few tables and sundry household appliances. The sexual angle is particularly interesting. Ann Barrett, who clearly suggests her husband is no longer interested in what lies beneath ("He's sleeping"); Florence, who likely experiences a wet fevered dream in lieu of her first (?) sexual encounter, with scratch marks from Victor's alleged violation probably caused by the feline from hell, and what about Ben? The only person to walk out in one piece from two previous investigations! In both cases, practically every male participant had their legs crushed in some form of 'accident', and either died or suffered permanent paralysis. Did Ben harbour some dark secret that turned his mind against both sexes? Was this self-confessed 'physical' medium compelled to use psychokinisis to kick up a real storm directed at his temporary companions, and were his powers sufficient to cause Florence to hallucinate,and to bring Ann's sexual urges to the surface? To put it bluntly, if Fischer couldn't get laid he'd make darn sure no-one else would. Dr. Barrett clearly believed his own brand of science - including a machine designed to 'drain' the house - succeeded in clearing almost every room, but maybe Hell House had always been devoid of energy.....until Fischer walked through the door. First-time viewers will have to see for themselves whether he makes it back to the outside world for the third time, or perishes during a showdown in the chapel - the nerve centre of Hell House, or so Fischer would have us believe

Whether or not the Belasco place really was haunted is very much open to interpretation, but even the sternest disbeliever will surely agree that John Hough's direction realises many flesh-crawling moments, with every shadow, each creaking door bringing an icy chill that seems to reach out beyond the screen. Even the presence of one wholly inappropriate line, uttered during an ectoplasm display at the seance, ("Leave a specimen in the jar, please") fails to dispel the tension for more than a few seconds.

20th Century Fox's Region 2 DVD delivers the best looking small screen version of this film, with a nice 1.85:1 transfer revealing that Hough and his team used every inch of the screen to explore the nooks and crannies of Hell House, turning damn near every room into a snapshot from some gothic hell. While this film retains its 70s look - due, no doubt, to the filmstock - colour reproduction is good and shadow detail is well rendered, making the £5.99 price tag for this disc seem like daylight robbery; in our favour for once.On a performance level, it's pretty much 'as you were' with McDowall and Franklin both excellent, Hunnicutt remaining an attractive piece of window dressing and Revill still struggling after all these years to draw any feelings of dislike or concern from either side of the camera.

While The Legend Of Hell House was never quite good enough to enter the upper echelon of classic spookers, it does remain a fascinating film; possibly for what it may be, rather than what is has long been perceived as.