Saturday, November 1, 2014

Moonage Daydreams


"I'm just a space cadet, he's the commander." CRACKED ACTOR is a poignant portrayal of David Bowie's infatuated audience, as he attempts to escape from his Ziggy Stardust persona and discover American soul.

IN 1974, David Bowie embarked on a 70-concert, 6-month American Diamond Dog tour. Midway through, a BBC crew - headed by Alan Yentob - were invited to document proceedings, resulting in the insightful CRACKED ACTOR programme screened under the OMNIBUS arts strand. Opening with a US reporter - Wayne Satz - dissing his Bowie interview as "it would be nice to talk to somebody not being evasive and discussing riddles," the BBC documentary unsurprisingly is more patient, searching and rewarding that such an observation. Taking its title from a track off Aladdin Sane, Bowie aims to distance himself from the overbearing ghost of Ziggy Stardust and conquer America on his own terms, aborbing the United States as a land of myth which could fuel new avenues of his imagination. Yentob paints a picture of an exhausted and undernourished performer surviving on cocaine and milk (many years later, Bowie proclaimed "I was so blocked ... so stoned ... when I see that now I cannot believe I survived it"), but also one that is constantly seeking to discover forms of performance art best suited to the shape of his work beyond the lyrics.

Scenes of Bowie and Carole King in a limo taking in the American west especially fascinated PERFORMANCE and DON'T LOOK NOW director Nicolas Roeg, as the singer talks about a fly inside his milk while listening to an Aretha Franklin song that King co-wrote ('(You Make Me Feel Like) A Natural Woman'). This synchronicity must have appealed to Roeg's layered mentality, as a year later the filmmaker would cast Bowie as a fragile alien consumed by humanity in the hallucinatory THE MAN WHO FELL TO EARTH. In fact, CRACKED ACTOR was shown to the backers of this new project, and the shots of Bowie in the back of the car - especially the wearing of his hat - created a mood that morphed into his title role.

Unlike the body-snatching or maiming mentality of most aliens-on-Earth movies, David Bowie's traveller has his character and mission eroded by human traits in THE MAN WHO FELL TO EARTH.

Roeg's film exists in a science fiction void between the sterile 2001 and the fantasies unleashed by STAR WARS. Tim Lucas, in his Video Watchdog review (#17, May 1993), offers a more specific place in motion picture history, stating that the production "is the turning point in English-language SF filmmaking that BLADE RUNNER is often assumed to be." Very loosely based on the 1963 novel by American Walter Tevis, THE MAN WHO FELL TO EARTH was an inversion of the norm: rather than a United States-funded picture filmed in Britain, here was a subversive film that was British-financed and made largely in New Mexico. Hiding his native hairless, cat's eyed appearance, the visitor takes on the visage of an English electronics entrepreneur in America. Soon under the surveillance of the CIA, the alien uses the name Thomas Jerome Newton, and rapidly amasses a fortune through a number of patents set up as World Enterprises, with the help from attorney Oliver Farnsworth (Buck Henry). It is revealed that with this money, Newton seeks to transport water back to his drought-ridden home world; but even though Newton befriends lonely hotel maid Mary-Lou (Candy Clark), he becomes a recluse corrupted by the Earthly fascinations of sex, alcohol, wealth, television and fame.

The film's use of time lapses and abrupt crosscuts also alludes to different genres: it is a science fiction film without special effects, a drama, western, love story and even satire. This non-linear story also creates a dream mentality, a key sensation in Roeg's visionary and portent-themed style (Farnsworth's line "when Mr Newton entered my apartment, my old life went straight out the window" takes on a literal meaning later). In Joseph Lanza's 1989 book Fragile Geometry: The Films, Philosophy, and Misadventures of Nicolas Roeg, the author mentions a number of manifestations in the director/DPs personal makeup that leave lasting impressions. As a child, Roeg's feverdream of a beach resort decaying into an apocalyptic visa - complete with writhing creatures - is turned into the alien's featureless, desert-like home world (replete with an almost amusement park-type train service); and a white mare that appeared on a grassy knoll but eluded being captured on film as Roeg lensed FAR FROM THE MADDING CROWD acts as a recurring motif here and in future work.

"Get out of my mind ... all of you!"; Newton encounters the effects of channel-hopping in one of many prophetic elements of THE MAN WHO FELL TO EARTH. What is most astonishing is how the narrative anticipates technologies that have shaped our lives: disposable cameras, self-developing film, digital music and multi-channel viewing have all come true since the film's release.
By the very nature of Roeg providing an out of sync story, this caused an extraordinary situation with the film's United States distributor. On viewing a rough cut, the newly appointed chairman of Paramount Pictures - Barry Diller - rejected THE MAN WHO FELL TO EARTH on the grounds that it was not a linear story. The kaleidoscope nature, the chairman argued, was not the film his studio bought, and resulted with producer Michael Deeley instituting a lawsuit where Paramount eventually contributed a modest settlement. The picture was actually picked up by Don Rugoff's New York-based outfit Cinema V, which specialised in unusual European releases. Even though British Lion clawed back two-thirds of their deficit with Paramount, Cinema V didn't have the same weight as the major Hollywood studio, and could not open the film on the same scale.

In real life Bowie was also a UFO enthusiast - he even contributed to a British UFO journal in the late 60's - belonging to a long list of rock luminaries who were actively involved in saucer investigations. But Bowie is THE MAN WHO FELL TO EARTH, an outsider who - according to Roeg - may or may not actually be of extra-terrestrial origin ("you in the audience think perhaps he's from outer space, I don't think that's definite. All we see is what's in his mind.") At the time of the production Bowie was using around 10gms of cocaine a day, consequently the musician/actor was as alienated as Newton himself.  Deeley - in his 2008 book Blade Runners, Deer Hunters and Blowing the Bloody Doors Off - My Life in Cult Movies, reveals an episode where Bowie was adamant that his beloved glass of skimmed milk was poisoned, making the star unable to work for two days; another where Bowie insisted that his mobile dressing room be moved from a location he considered to be an Indian burial ground. Against the odds, the leading man was allegedly accessible and ready for the extraordinary scenes Roeg asked of him; as Deeley states in his book, "David Bowie lived in his own world, and I'm not sure how many other inhabitants it had."

Wednesday, October 1, 2014

Green and Unpleasant Land

THE SHOUT (1978)

Esteemed TV players Bernard Hepton and Anna Cropper's different world's collide in the rural horror ROBIN REDBREAST.

BROADCAST as part of the BBC's PLAY FOR TODAY strand, ROBIN REDBREAST is a folk horror rarity that acts as a precursor and influence to the more hard-hitting THE WICKER MAN and BLOOD ON SATAN'S CLAW. Written by John Bowen and directed by James MacTaggart, it is the story of Norah Palmer (Anna Cropper), a London-based TV script editor who temporarily escapes to the country in order to recuperate after a break-up. But with mice scurrying in the walls, birds coming down the chimney and local eccentrics like housekeeper Mrs Vigo (Freda Bamford) and Mr Fisher (Bernard Hepton) dispensing weird customs, Anna becomes increasingly isolated and lost within her new environment. When she falls pregnant after a one-night stand with SS-obsessed gamekeeper Rob (Andrew Bradford) - who she first encounters practising karate in the woods wearing only his underpants - Anna is embroidered in a conspiracy to prevent her leaving the village.

The class struggle theme is amplified by Anna being such a liberated, modern woman and Rob a himbo who looks to the history of the Third Reich to generate monosymbolic conversation. They have nothing in common but sleep together in the onset of fear, instincts which adhere to the programme's yearning to turn back to more straightforward times. The countryside may be full of shunned micro societies, but can the urban development of "civilised" post-war Britain - and the intrusion of the outsider - really ever erode the colour of tradition and ritual from a brutal prehistory? Talky but engrossing, ROBIN REDBREAST's slow burning dictum - and the inclusion of snobbish London friends Madge (Amanda Walker) and Jake (Julian Holloway) - makes a case that our green and unpleasant land will always govern our prudish endeavours.
The soul of a housewife is manipulated by a magical stranger in THE SHOUT; reverting to an Aboriginal state, Rachel scuttles on all fours through her cluttered kitchen.

Though THE SHOUT is connected with Aboriginal Outback culture, and was the first British film of Polish director Jerzy Skolimowski, Englishness seeps through every frame. Shot in and around Braunton Burrows and Saunton Sands in North Devon - a stone's throw from this writer's home - the film shows a cricket match between the staff and inmates of an asylum. One of the patients, Charles Crossley (Alan Bates), is running the scoring hut, where he tells Robert (Tim Curry) a strange story ("every word of what I'm going to tell you is true. Although I'm telling it in a different way, it's always the same story … I vary it a little because I like to keep it alive.") Told in flashback, we see married couple Anthony (John Hurt) and Rachel (Susannah York); Anthony is a Church organist/composer, and Rachel a staid housewife. Crossley appears and announces that he has returned from eighteen years in the Australian outback, where he lived among the Aborigines and studied their magic. Even though the stranger tells the couple of him killing his own children, Crossley moves in with Anthony and Rachel permanently, establishing a spell over the household.

An ambitious but ultimately perplexing film, THE SHOUT opens with the featured couple asleep on a beach, both having the same dream of a witch doctor in a tailcoat. Crossley explains this was one of his teachers, and we learn more about the strangers powers: the ability to take another man's wife by simply keeping an item of her clothing - in this case a sandal buckle - and the secret of The Shout, a cry so despairing that it can kill. Crossley creates a disquieting, intimate awkwardness, made the more terrifying because his incantations are introduced naturally into country village life. The production's otherworldly quality is further enhanced by its use of an electronic and avant-garde score by Genesis linchpins Tony Banks and Mike Rutherford. In fact the film's haunting central theme 'From the Undertow' was the opening track on Banks' solo debut album A Curious Feeling released a year later.

The THREADS of the Rabies world, the BBC Scotland drama THE MAD DEATH was made two years before its eventual transmission date.

In this age of bird flu and ebola, it is easy to forget that in the 80's Rabies was the virulent virus. The BBC had already featured the condition in a third season episode of SURVIVORS - MAD DOG by Don Shaw, screened in 1977 - which provided the already decimated population with another catastrophe, but THE MAD DEATH tackles Rabies full-on. Based on the Nigel Slater book of the same name, writer Sean Hignett and director Robert Young examine the effects of a notional outbreak of "the mad death" on our shores. Opening with a titles sequence where a voice whispers 'All Things Bright and Beautiful' over a distorted image of a fox, the terror begins when an infected cat is smuggled by her owner from France into Scotland. When the feline is run over by a car, its body is eaten by a fox. The spread amongst the animal population goes undetected until the first human, womanising American businessman Tom Siegler (Ed Bishop), befriends the infected animal. After Siegler is confirmed with the disease in hospital, the government calls in leading Rabies specialist Michael Hilliard (Richard Heffer) and Doctor Anne Maitland (Barbara Kellerman). Maitland's jealous partner Johnny Dalry (Richard Morant) creates a tepid love triangle which fails to hold interest against a number of alarmingly brutal scenes.

By addressing humanity's fear of disease with a love of animals, THE MAD DEATH has a solid premise. While most commentators mention the shopping centre containment in episode two as the highlight, the slow-burning demise of Tom in the first part is more dramatically satisfying. Benefitting from focuses on the declining health of the businessman for a continuous large portion of running time, we follow Siegler through the various stages of the disease, starting off with headaches, disorientation, and blurred vision; and in medical care, having hallucinations of being strangled, as hydrophobia takes hold. If the story seems pedestrian after the shopping centre sequence, it only serves as a foundation to the barnstorming final act, which depicts a still difficult to watch cull and creepy scenes within the home of Miss Stonecroft (Brenda Bruce) - the obligatory demented pet-obsessed loner - which includes the capture of Maitland and Stonecroft's attempt to feed her cat food and milk. Of the performances, Bishop shines as the charismatic American, as confident and chatty as the English cast are reserved and stiff upper-lipped. 

Monday, September 1, 2014

Experiment in Fear


"What did you expect? My head to spin around?" Debutant Olivia Cooke's performance is the highlight of Hammer's otherwise messy THE QUIET ONES. Similar to the 1970's era of Classic Hammer, where the studio struggled against an onslaught of progressive American cinema, the production ignores an interesting premise to portray a bias of shock.

THIS "Hammer production" actually encompasses five companies, five producers, and four screenplay credits. No wonder the result is uneven, illustrating a collage of styles from found footage to retro supernatural terror. The picture begins at Oxford University in 1974, where chain-smoking Professor Coupland (Jared Harris) - assisted by students Krissi (Erin Richards) and Harry (Rory Fleck-Byrne) - is experimenting on troubled Jane Harper (Olivia Cooke). Coupland believes that the power of the human mind far outweighs any paranormal possibility ("you're not possessed, you're just unwell"), and the Professor hires cameraman Brian McNeil (Sam Clafin) to document events. But with funding suddenly withdrawn, the project moves to an isolated house where several manifestations take place and a scar on Jane's skin is unveiled. Brian researches the case of Evey Dwyer, a young girl raised in a satanic cult, but it transpires Jane is Evey, who unleashes her powers to murder the academics and leave Brian institutionalised.

The much overused "based on true events" tag here relates to an exercise set in motion during 1972 by the Toronto Society for Psychical Research. The members aimed to explore the Tibetan Buddist concept of "thoughtforms" by "willing" a ghost into existence. The group began by creating "Philip Aylesford", providing a backstory that he was an aristocratic Englishman living in the middle 1600's. After falling in love and concealing the gypsy Margo from his wife Dorothea, Aylesford commits suicide after being stricken with remorse by not defending his lover after she is burned at the stake. Initially meditating on the history of the character then holding séances, unsurprisingly there were no visitations, only an example of unconscious will within a proposed environment. This notion of a collective human hallucination is reduced to sensationalism for the picture: Jane/Evey not only seems to be mischievously channelling evil spirits akin to THE EXORCIST - after all, William Friedkin's tour-de-force was released in the UK in the year of the film's setting - but also sees the character emotionally lashing out in CARRIE vein, and a final third reverts to PARANORMAL ACTIVITY. At least the narrative makes effective use of Krissi's hot pants and Slade's 'Cum on Feel the Noize.'

Friday, August 15, 2014

Ghoulish Murders at the Dark House

THE GHOUL (1933)

Boris Karloff carves a hieroglyph onto his chest in THE GHOUL. Assumed to be lost since screenings in 1938 - at least in a viewable print - a perfect negative of this Gaumont-British film surfaced in a forgotten vault at Shepperton in the early 1980's.

THE pictures under consideration here exist in two twilight zones of cinema, development arcs that bridge silents to talkies, then defuse staged melodrama to open up more erudite levels of performance. THE GHOUL sees Boris Karloff return home after achieving stardom with Universal - in a film influenced by those golden horrors - while the three Tod Slaughter releases play as last gasps to Victorian Gothic, a tradition of spectacle illustrated by the lurid Penny Dreadfuls and Madame Tussaud's Chamber of Horrors. In THE GHOUL - very loosely adapted from Frank King's 1928 bestseller - Egyptologist Professor Morlant (Karloff) believes that his devotion to Anubis and possession of 'The Eternal Light' jewel will resurrect him and give him immortality. He forces his manservant Laing (Ernest Thesiger) to bind the jewel into his palm on his deathbed, but after being entombed in the family mausoleum with the stone stolen from his grasp, Morlant returns from the grave to stalk those he suspects betrayed him.

In front and behind the camera, THE GHOUL was given star treatment. Together with Karloff and Thesiger, the sterling thespian cast also includes Cedric Hardwicke as Morlant's attorney Broughton, and a young Ralph Richardson as snooping parson Hartley. Cinematographer Gunther Krampf creates a musty ambience, and Louis Levy provides a stirring score. But it is hardly the classic heralded by critics upon its R1 DVD restoration in 2003, as viewers will find their patience tried by T. Hayes Hunter's languid pacing, pregnant pauses and over-stated dialogue and dramatics, as the picture crawls to its non-supernatural, SCOOBY DOO climax. Karloff, who, to the film's detriment, disappears for a large portion of the prolonged 80m running time, obviously uses his role as Im-Ho-Tep from Karl Freund's THE MUMMY as the prototype here, with the distinctive make-up - devised by the specifically imported Henrich Heitfeld - swathed in thick wrinkles and scar tissue so prominent as to occlude one eye almost completely.

Tod Slaughter in MURDER AT THE RED BARNAlthough Karloff, Lionel Atwill, Charles Laughton and Claude Rains were successfully exported to Hollywood, Slaughter was Britain's first home-grown horror star.

Born Norman Carter Slaughter in March 1886 and adapting the name Tod in 1925, this English actor and stage proprietor became infamous for his melodramatic performances in macabre theatre and film adaptations (as Jonathan Rigby points out in English Gothic, "[Slaughter's] villainy is redolent of boiled beef and carrots gone rancid.") It is said he briefly retired from acting to become a chicken farmer at the start of the 1930's, but he was soon back touring theatres with his trademark repertoires. Exploiting his toothy grin, throaty voice and amphibious façade, Slaughter was publicised as 'Mr Murder' in the 1931 New Theatre run of 'The Crimes of Burke and Hare,' and shortly after played urban legend Sweeney Todd for the first of over 2,000 performances. Consequently, the persona of an over-the-top lunatic gripped his character similar to the career not necessarily always enjoyed by Bela Lugosi with Dracula. By the early 1950's the public's appetite for melodrama have abated and Slaughter went bankrupt. He continued to act in stage productions such as 'The Gay Invalid' opposite Peter Cushing and was still performing to the very end, dying of coronary thrombosis in February 1956. This timescale conveniently connects the coming of Hammer and the more sophisticated performances of Cushing and Christopher Lee.

In 1935, at the age of 49, he started in a run of poverty row pictures with MURDER AT THE RED BARN. Based on the true story of 1827, Slaughter plays Squire William Corder, who seduces farmer's daughter Maria Marten (Sophie Stewart) then murders and buries her beneath a barn floor - "you shall be a bride, a bride of death!" - after discovering she is pregnant. This does not fall into Corder's plan at all, as he aims to marry a wealthy spinster to pay off a dicing debt. In the darkly humorous finale, Corder's own dog marks the spot where Marten is buried, the Squire forced to dig to incriminate himself knowing one of his pistols lies by the body; there is further irony when Corder is hanged by a volunteer executioner, Gypsy Carlos (Eric Portman), Maria's lover. Flaunting its stage origins by starting with a Master of Ceremonies in front of a painted backdrop, Slaughter's portrayal of the seemingly cordial Squire morphing into a gambling murderer provided a template for a career of maniacal dual personalities.

Californian Sleazemeister and rockabilly musician Johnny Legend presented this DVD double-bill of SWEENEY TODD and CRIMES AT THE DARK HOUSE.

A year later Slaughter reprised his most famous stage role for the screen. In SWEENEY TODD: THE DEMON BARBER OF FLEET STREET, the eponymous character "polishes off" wealthy customers who sit in a mechanical barber's chair which dumps them head-first down into the basement; there, the victims are ready to have their throats cut ("a lovely lot of throats, the lot of 'em ... rich and mellow to the razor.") Neighbour Mrs Lovatt (Stella Rho) disposes of the bodies by processing them in pies for a share of the stolen money (but similar to Marten's pregnancy in MURDER AT THE RED BARN, this is only implied). Todd has an eye for Johanna Oakley (Eve Lister), who is in love with seaman Mark (Bruce Seton), and in a Slaughteresque twist both these characters adapt a more literal disguise to fool the demon barber, eventually plunging him down his own trap door to an infernal damnation. This is Slaughter's consistently most entertaining picture, with the actor at his cackling, vindictive and money-grabbing best, and rife with double entendre (at one point he leers at Mark "when I'm finished with you, you won't know yourself.")

Loosely based on Wilkie Collins' 1859 ground-breaking detective/mystery novel The Woman in White, CRIMES AT THE DARK HOUSE
opens with in the gold fields of Australia, where Slaughter creeps into a tent to kill Sir Percival Glyde by hammering a tent peg into his ear. Assuming Percival's identity in order to inherit his English estate, on arrival back in Blightey the scheming prospector discovers that the Glyde's are in fact bankrupt. Benefitting from higher production values - which included future Hammer designer Bernard Robinson's first gothic sets - there is also a more convoluted but dramatically satisfying storyline, encompassing an insane illegitimate daughter, a blackmailing doctor, mistaken identities and the obligatory impregnation and murder of a maid. Slaughter may be at his most archetypal for SWEENEY TODD, but CRIMES sees his most polished, sly and sexually sardonic performance. Almost every line is delivered in a suggestive manner, and his lascivious excitement at bedding his new reluctant bride is particularly depraved.

Friday, August 1, 2014

Dream Documentaries


John Chambers and Sandra Marrs, aka Scottish comic book novelists Metaphrog, designed this Bryan Talbot illustration for the 'Stripped' strand of the 2013 Edinburgh International Book Festival.

RELEASED by Digital Storage Engine in May, this fascinating three-part, 142-minute DVD documentary showcases the passions and processes of one of the world's most respected and influential comic book creators. Wigan-born writer/artist Bryan Talbot emerged from underground comix in the late-70's with The Adventures of Luther Arkwright, widely labelled as the first British graphic novel. An albino assassin who gets stoned, activates his psychic powers and ends up in a parallel England where Oliver Cromwell’s rule never ended, Arkwright started as a pastiche of Michael Moorcock's Jerry Cornelius, but by the time Talbot had completed the series the work provided a template from which the likes of Alan Moore and Grant Morrison started their foreboding careers. As well as Moorcock, Talbot borrowed from the British new wave of science fiction writers and the film techniques of Nicolas Roeg, spawning the whole "mature comics" line that more noticeable figures give themselves far too much credit for.

Featuring interviews with - amongst others - Neil Gaiman, Warren Ellis, Pat Mills, Charlie Adlard, Paul Gravett, Kim Newman and with an introduction by Moorcock, THE GRAPHIC NOVEL MAN not only puts Talbot's trailblazing developments of sequential storytelling in context, but explores the comic form in relation to other artistic endeavours. At one point novelist Ian Rankin marvels at how Talbot balances his craft - following Rankin's pains with a John Constantine one-shot - and the sequences showing the creator at work with his folders of notes, charts and tireless research even when on walking holidays are marvels to behold. Not only is the attention to detail staggering, Talbot has always maintained an integrity and pride in an often shunned artistic medium. Talbot refers to his scripts as 'Alan Moore style', referencing the detailed writing that the Northampton magus is famous for, thus being typically polite about who actually influenced who.

Talbot's underground Brainstorm Comix premiered psychedelic alchemist Chester P. Hackenbush, a character reworked by Alan Moore as Chester Williams for his run on Swamp Thing.

Over his forty-plus years in the industry, Talbot's talent absorbs a variety of styles to suit their target audiences. He says he is writer, director, costume maker and editor for each of his publications, which helps to explain the quality of detail. Described by Dez Skinn as "The David Bowie" of comics, Talbot's work is as impressive as it is diverse: Nemesis the Warlock for 2000 A.D., a tale of childhood sexual abuse in The Tale of One Bad Rat, the Grandville series which imagines an alternative steampunk reality in which France won the Napoleonic Wars and the world is populated by anthropomorphic animals, the 2013 Costa Award winning Dotter of Her Father’s Eyes co-created with wife Mary, and the existential Metronome - a textless erotically charged poem produced under the pseudonym Véronique Tanaka - illustrate this breadth of vision. His story for Batman: Legends of the Dark Knight #39-40 sees Bruce Wayne's dual identity as the caped crusader revealed as just a side-effect of hysterical dissociative disorder. As Talbot states in the documentary, "I'm surprised I got away with that really." 

In 2007 he released his magnum opus Alice in Sunderland, a "dream documentary" four years in the making that immerses itself with the relationship between Lewis Carroll, Alice Liddell and the Sunderland and Wearside areas. Using Carrollian scholar Michael Bute's book A Town Like Alice's as a springboard, the sprawling work is pitched as a grand entertainment staged at the Sunderland Empire, and contains a dizzying array of historical weight and illustrative collage, from watercolours and Victorian engraving, to spot-on pastiche of boy's own papers and EC horror comics. Talbot places Sunderland - and indeed the folklore of England - within a mythical dreamscape which explores the influence of space similar to the works of Iain Sinclair and Alan Moore. Narrated in the present-tense by Talbot as avatar, the many threads reveal starling connections and stories that become true on the pure basis of tales being told and retold.

“It’s alright for you middle-class cineastes to see this film, but what would happen if a factory worker from Manchester happened to see it?” James Ferman is centre stage for VIDEO NASTIES 2: DRACONIAN DAYS.

Nucleus Films' follow-up to 2010's VIDEO NASTIES: MORAL PANIC, CENSORSHIP AND VIDEOTAPE - VIDEO NASTIES 2: DRACONIAN DAYS - focuses on the years 1984 to 1999 to chart the rise and fall of BBFC supremo James Ferman. A Canadian television hack who felt obliged to think that his background in the cutting room and "social awareness" made him the perfect man for the job, Ferman was particularly obsessed with the theme of sexual violence and the use of nunchucks - he even cut the opening sequence of TEENAGE MUTANT NINJA TURTLES II because Michelangelo imitates their use by swinging sausages. Ferman infamously not just censored but re-edited films, cutting horror movies to shreds and basterdised HENRY: PORTRAINT OF A SERIAL KILLER to his own dramatic whim. Documenting the Hungerford Massacre, the murder of James Bulger and the antics of MP David Alton, Jake West's documentary absorbingly shows how this bludgeoning practice only served to create a thriving underground movement of fans eager to find and trade complete cuts, consequently forming a vibrant fanzine market for such a social network to thrive. Like its predecessor it is an important historical piece in its own right, contrasting the fight for artistic freedom against the timeless ignorance of the BBFC, MPs and mainstream media.

Tuesday, July 15, 2014

"The Lotion Puts Her in Motion"


Keith Barron and Kenneth Cope - sporting a very 70's handlebar moustache - create BK142, a potent potion that drives women - and dogs - sex mad. Released Stateside as THE PASSION POTION, SHE'LL FOLLOW YOU ANYWHERE unsurprisingly has only brief nudity and no titillation, but was still given an X certificate by the BBFC.

1971 was a good year in British sex cinema if you wanted to watch films that featured products driving woman insatiable. In Kenneth Turner's THE LOVE PILL, sugar balls can convert even the most of frigid of women into nymphomaniacs - as well as acting as a stringent contraceptive - and David C. Rea's SHE'LL FOLLOW YOU ANYWHERE sees two research chemists stumble upon pink compound BK142, a scent that makes females sex mad then produces amnesia. Alan Simpson (Keith Barron) and Mike Carter (Kenneth Cope) discover the potion while working for Parker's Perfumes, but soon set-up their own laboratory in an old military barracks in Effingham. Carter tests the effectiveness of BK142 by covering himself in the formula and being chased around Piccadilly Circus by a Bunny Girl, an episode which becomes front page news when the pursuit ends up in a car sale showroom (run by Bob Todd). As part of the chemical process, the aroma makes the woman think they are having relations with glamorous stars such as Mick Jagger, Hugh Hefner, George Best and Englebert Humperdinck; cheekier encounters feature a German dominatrix who imagines Adolf Hitler, and an Old English Sheepdog sniffs Alan and imagines him as an Afghan Hound.

The film's denouement - after complications in producing a second batch of BK142, Carter suddenly makes advances on Simpson - is as laboured as the jokes; opening the picture, a psychiatrist states "the final question in our survey on sex in Britain today was answered by 8345 adult males and 6320 females. To the question "What do you do immediately following the sex act?", 2% said they did it again, 4% said they had something to eat and drink, 5% said they lit a cigarette, 7% said they went to sleep, and 82% said they got up and went home." But Barron and Cope make for loveable rogues rather than the usual loathsome oafs in British sex film circles, even though they are cheating on their wives and exploiting young girls. Of the supporting roles Richard Vernon is typically supercilious as Parker's Perfumes supremo Andrew Coombes, and SHE'LL FOLLOW YOU ANYWHERE holds the distinction of being the first - and so far only - appearance of HRH Prince Philip in a British sex comedy, here the fantasy man of Coombes' secretary Miss Crawford (Penny Brahms). An impressive dramatis personae also includes Sandra Bryant as a lab assistant, and the Collinson Twins, Andrea Allan and Me Me Lay as sexual conquests.

Tuesday, July 1, 2014

Prehistoric Pap

"Enter an age of unknown terrors, pagan worship and virgin sacrifice..." The "gigantic spectacle" of WHEN DINOSAURS RULED THE EARTH.

AFTER the world-wide success of ONE MILLION YEARS B.C., Hammer's first cash-in was actually completed while the Raquel Welch extravaganza was still in post-production: PREHISTORIC WOMEN. Even though the studio flirted with forgotten lands in 1967's THE LOST CONTINENT - whose monsters acted more as a prelude to Amicus' lost world pictures of the 70's - Hammer's follow-up to ONE MILLION YEARS B.C. proper didn't appear until late 1970. Developed into a screenplay by director Val Guest from a treatment by novelist J.G.Ballard, WHEN DINOSAURS RULED THE EARTH begins with Kingsor (Patrick Allen) sacrificing blonde virgin Sanna (auburn-haired Victoria Vetri, sporting a blonde wig). She is saved when winds sweep her over a cliff and into the arms of Tara (Robin Hawdon), a man from a fishing tribe. Tara welcomes Sanna into his clan and they fall in love, much to the annoyance of Ayak (Imogen Hassall). When the moon appears in the sky for the first time the tribe panics, with Ayak accusing Sanna of witchcraft. The outsider flees into the jungle where she is forced to survive amid prehistoric beasts, which includes being accepted by a mother dinosaur as one of her own hatchlings.

The real curse of ONE MILLION YEARS B.C. was that Hammer found itself unable to afford the star attraction of Welch, or control the runaway success of its stop-motion animator Ray Harryhausen. Harryhausen was engaged with THE VALLEY OF GWANGI, and suggested Ohio-born SPFX creator Jim Danforth to lead Hammer's visual effects department on the picture. Danforth would eventually be rewarded with an Academy Award nomination, but only after an exhausting association with his employers. With little time for location work, a decreasing deadline and spiralling budget, he was aided by Roger Dicken, David Allen and Brian Johnson. With the use of real-life lizards and alligators acting as padding, the production still had to lose two major effects sequences: one involved a horde of giant ants, the other involving two pterodactyls. Against this backdrop of blood, sweat and tears, Danforth delivers a number of memorable scenes, such as villagers fighting off a rampaging Plesiosaur with flames, and a Triceratops pursuing a caveman to the edge of a precipice.

Imogen Hassall is jealous cave girl Ayak. Referred to as "the countess of cleavage" because of her revealing outfits worn at film premieres, the actress was a regular performer in 60's and 70's cinema and television. In 1980 - at the age of 38 - she committed suicide at her Wimbledon home by overdosing on Tuinal tablets.

21-year-old Vetri is hardly an equal to the iconic memories of Raquel Welch. In fact, in Tom Weaver's 2003 McFarland interview book Double Feature Creature Attack, Guest describes the starlet as "a nitwit" and "a real nothing, and a very strange mixed up lady." As Angela Dorian, Vetri was Playboy's Playmate of the Month for September 1967 and subsequently was the 1968 Playmate of the Year. Before donning the fur bikini, Vetri turned down the title role of Stanley Kubrick's LOLITA, and worked mainly in television - including BATMAN and STAR TREK - but she did have a bit part in Roman Polanski's ROSEMARY'S BABY. Later appearing in sexploitation entries INVASION OF THE BEE GIRLS and GROUP MARRIAGE, the actress made headlines in 2010 for shooting her fourth husband, Bruce Rathgeb. A year later the charge against Vetri was reduced from attempted murder to attempted voluntary manslaughter, to which she pleaded no contest. The judge sentenced her to nine years in state prison.

The Canary Island locations give WHEN DINOSAURS RULED THE EARTH an expansive glow that belies the merits of such a juvenile fantasy. As with ONE MILLION YEARS B.C., there is no intelligible dialogue, only a series of grunts and gesticulations; in Wayne Kinsay's book Hammer Films: The Elstree Studio Years, Guest states "I invented and wrote a whole new language. I actually thought if we could do this really believing in what you're doing we may get away with it." Ballard said that he was "very proud that my first screen credit was for what is, without doubt, the worst film ever made." Why such an experimental new wave science fiction author would become involved with a Hammer dinosaur picture has remained a mystery. In the finished product, the writer's main plot thread of the formation of the moon is placed after the coming of man but before the extinction of the dinosaurs, heartily accompanied by a choir of heavenly voices.