
I’m rapidly coming to the conclusion that I don’t know a thing about the cinema. Either that, or my memory is playing me up. My reason for booking to see The Damned was basically that I thought that I had seen it many years ago on a late night TV showing and wanted to see if it lived up to my memory of it. Even ‘memory’ is a misnomer, as all I could remember was a scene on a beach with Oliver Reed and his biker cohorts cavorting with a girl. Some things just stick in your mind, as the song goes!
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A scorching hot day on the South Bank of the Thames, bright, bright sunshine reflecting off the concrete and a bottle of Australian Chardonnay to sustain us, me and my good lady picked our way to the NFT with two fellow mod era film fanatics to see The Flipside’s latest Brit Exploitation offering. With my admittedly limited knowledge of Anthony Balch’s film output, and my expectations a little on the low side I was surprised to learn what a varied career this director had. Starting out with the type of ‘beatnik’ films familiar to those of you who were regulars at the late, lamented Scala Cinema at London’s King’s Cross, he was one director who seemed to remain on the fringes of filmmaking, with Horror Hospital representing some sort of stab at a more popular genre.
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Some time back, someone threatened to send me a copy of Clubbed. It never appeared and to be honest, I wasn't that bothered. But with so little available to rent right now, I decided to pick it up. Well, if nothing else it has a decent soundtrack.
I would review it properly, but if the PR firm don't seem bothered, why should I? So instead, I'll give you the brief highlights and a general opinion. Which is Liverpool, early 80s, a divorced bloke has self-esteem issues, not least because he's had a kicking in the local in front of his kids by the muscle of the local gangster. He falls into boxing, joins a small gym which is run by a bouncing firm, gets in with them and gets involved in the fallout from their fall out with said gangster.
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I only have vague recollections of Magpie from my childhood, but I do remember one thing loud and clear - it was far more cool than Blue Peter. To me, the BBC's magazine show was an extension of school, whereas Magpie was more of a cool youth club. Watching the now reissued Magpie DVD all these years later, it seems even more true.
Let's be honest, when your presenters included a Marc Bolan lookalike, a 60s 'it girl' who didn't think much of wearing underwear on-screen and best of all, a former actress who starred in both a Bond movie and a Pete Walker horror, you're already well ahead of the game. But it wasn't just the people, watching the surviving episodes today and you find a programme that didn't patronise its teen demographic, didn't necessarily play safe and above all, managed to educate its audience by keeping things interesting. If only modern-day kids TV did the same. Having a theme tune by the Spencer Davis Group didn't do Magpie any harm either.
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We're big Pete Walker fans here, but I have to admit, I've never seen Home Before Midnight. Until now that is, as the movie has been issued for the first time on DVD by Odeon.
Home Before Midnight is one of Pete Walker's more controversial flicks in terms of subject matter, although it's dealt with in a very Pete Walker way (if you know what I mean). Mike Beresford (James Aubrey) is a successful 28-year-old lyricist for one of the big bands of the moment. He's rich, successful and cruising the highways in his Jensen Interceptor. He spots a young girl in the cafe, then gives the hitchhiker a lift home to London. Things develop and before too long, they're out on a date, spending time together and in a relationship. But there's just one thing that Ginny Wilshire (Alison Elliott) has forgot to mention to her new partner - she's just 14 years old and still at school. Not that you'll guess - the actress playing her must have been in her 20s when she took the role (thankfully).
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Once upon a time, late night TV in the UK used to be the best place to see 60s and 70s Brit horrors. Indeed, for many, it was the only way to see more obscure flicks from the likes of Amicus and Hammer, titles that weren't actually available on video or later on, DVD. The only downside was the alarming regularity that some titles cropped up - one of which was Asylum.
Yet since those heady days of late night horrors in the school holidays, Asylum is a film I've neither owned or seen, but it's one I remember fondly. So in the interests of research, I reacquainted myself with it this week. It didn't disappoint.
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In these days of the ‘hit, git and split’ approach to filmmaking, a film’s title has to say it all to its perceived audience. Today’s filmmakers seem to feel that there’s no sense in using a ‘clever’ or ‘oblique’ title if what they basically have is the second instalment of a superhero’s adventures, or another romcom with one of the cast of ‘Friends’ in it. It’s with this in mind that the casual viewer might get completely the wrong impression from the bare bones of The Bed Sitting Room.
Anyone, perhaps reasonably, expecting a ‘kitchen sink’ drama will end up very puzzled and surprised by this surreal, post-apocalyptic offering from the closing years of that golden decade. Once again, the ‘Flipside’ team have come up with three ‘Bars’ and a replay on the cinematic one-armed bandit, in securing a gorgeous print of this long neglected film for us to rave over, and hot on its heels, a DVD release for those who can’t make the trip to London’s South Bank or who were indisposed that night - good excuses only, now!
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The early 1930s was the era of the gangster movie - and that era, along with all that followed, is being celebrated with the Gangsters season at the BFI in July.
From the original era, you can enjoy the likes of Little Caesar (1930), Scarface: The Shame of a Nation (1932) and The Public Enemy (1931), along with later movies like Dillinger (1945), Al Capone (1959), Roger Corman’s The St Valentine’s Day Massacre (1967), Arthur Penn’s Bonnie and Clyde (1967), the remake of Scarface (1983), Sergio Leone’s Once Upon a Time in America (1983) and The Newton Boys (1998) from the modern era.
Want to know more? See over the page for a full breakdown and summary of all the movies showing.
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At last, after talking them up for the last few weeks, we've finally got our hands on the first releases from the Flipside label. Where do we start? Well, why not go in chronological order, kicking off with London in the Raw.
London in the Raw is a documentary. Well, not really, but that's how it is pitched. In reality, this is as much a work of fiction as fact, staged recreations of real life intended to entertain and titillate, despite the high moral tone of the movie's commentary. Yet despite that, you'll still learn an awful lot about 1960s London in this 'mondo' flick and indeed, from the shorts that accompany it.
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