The Mountain of the Cannibal God (1978) | Sergio Martino’s notorious exploitation cult looks ravishing on Blu-ray
From Shameless in the UK comes the 2k restoration release of Sergio Martino’s 1978 Italian horror The Mountain of the Cannibal God (minus the gratuitous animal cruelty) on Blu-ray and DVD.
Ursula Andress braves tarantulas, alligators, anacondas and treacherous terrain as she goes in search of her missing scientist husband, Henry, on a ‘wild and uncontaminated’ island in New Guinea.
Enlisting the services of Stacey Keach’s professor Edward Foster and jungle explorer Manolo (Claudio Cassinelli), Susan (Andress) and her brother Arthur (Antonio Marsina) set their sights on the mountain of Ra Ra Me, where Henry’s clandestine expedition was headed. But everyone have their own private reasons for reaching this mystical destination… and not everyone is going to survive the ‘orgiastic pandemonium’ that ensues…
Also known as La montagna del dio cannibale (in Italy), Slave of the Cannibal God (in the US) and Prisoner of the Cannibal God (in the UK), Martino’s exploitation flick was banned in the UK as a ‘video nasty’ until 2001 for its violent imagery. Shameless have now reinstated the long-missing original dramatic gore, but has wisely chosen to ‘soften’ the animal suffering visuals which were patently inserted, completely out of context, to cater for commercial stipulations of the day. However, that bestiality scene involving a ‘disinterested’ pig remains intact!
Frankly, I think this rebuild makes for much more suspenseful jungle adventure (like King Solomon’s MInes meets Emmanuelle), while Giancarlo Ferrando’s cinematography of the jungle and its wildlife, and the cave locations (all shot in Sri Lanka,) really shine in this restoration. The camera also loves Andress, who looks flawless despite her many ordeals, which include climbing a genuinely dangerous waterfall and being turned into a living goddess coated in honey. The music score, by Guido and Maurizo de Angelis, is also one I could happily listen to in its own right. My only niggle is the film’s unflattering portrayal of indigenous culture (but that is something that’s problematic of many Mondo-style exploitation flicks of the era).
Martino has fully supported Shameless’ efforts not to ‘pander to exploitative and unnecessary violence against animals’, and the director explains that in detail in the extras that are included in this release.
• Cannibal Nightmare – Return to The Mountain of the Cannibal God: Documentary
• Sergio Martino on filming animal cruelty
• Theatrical trailer
• Italian credits
In her last feature film before heading to TV land, Barbara Stanwyck reunited with her former husband Robert Taylor for this mystery-suspense from legendary showman Castle, who casts aside his usual gimmicks and instead relies on the reputation of Psycho author Robert Bloch, who wrote the screenplay under the original title, The Dream Killer.
Stanwyck plays Irene Trent, a former beauty-parlour owner who is plagued by dreams of a fantasy lover. When her blind, possessive inventor husband Howard (Hayden Rorke) is killed in an explosion in the upstairs lab of their mansion home, Irene inherits his fortune…
But fact and fantasy get all messed up when Irene’s lover (Lloyd Bochner) appears before her and whisks her off to be married. Unsure whether it was a dream or not, Irene enlists the help of her husband’s attorney, Barry Moreland (Robert Taylor), to uncover the truth… But all is not what it seems as The Night Walker makes his nightmarish return…
Aside from the twists, turns and red-herrings, there’s some genuinely creepy moments to be found in the monochrome chiller, including a frightening image of a hand clutching an eyeball, which jumps out at you in the opening sequence as Paul Frees narrates a prologue on the subject of nightmares.
When I first saw this film as a youngster, I was deeply shocked by Hayden Rorke’s cane-tapping entrance from out of the shadows, which slowly revealed his horribly burned face. But it wasn’t his disfigurement or the idea that he might be an undead ghoul that disturbed me – it was seeing I Dream of Jeannie‘s Dr Bellows playing it mean and despicable. But I have to admit his make-up was pretty cool.
While light on the camp hysterics of the same-year’s Strait-Jacket (starring Joan Crawford), Castle’s woman in peril follow-up is a surreal, entertaining treat that will have you guessing till the very end. Stanwyck plays it with serious intent, and earns our sympathy (and respect) as a result, while Vic Mizzy’s harpsichord-fused score deftly underpins the film’s funereal tone (now: is it just me, or does the main theme sound like Food, Glorious Food from Lionel Bart’s Oliver). The exteriors were all shot at the Higgins-Verbeck-Hirsch mansion in LA, which would become home to Elsa Lanchester and an army of rats in 1971’s Willard, while Mizzy’s catchy soundtrack got a Percepto Records CD release in 2002 (which now fetches ridiculous prices).
There’s also a collectable paperback tie-in, written by Sidney Stuart and based on Bloch’s screenplay, which was published in 1964 by Awards Books. This features the same imagery as the poster art, which was a variant of Henry Fuseli’s influential 1781 painting The Nightmare – of a demonic creature crouching over a sleeping woman. In the poster art, this incubus is painted as a horned devil, which does not appear in the film. However, it does have a curious link to Guillermo del Toro’s Pan’s Labyrinth.
On the audio commentary of Optimum Home Entertainment’s 2006 Blu-ray release, del Toro revealed his inspiration for the Pale Man (the ogre who inserts a pair of eyes into the palms of his hands) was based on an image from a film poster that he once saw as a youngster. While he doesn’t mention the name of the film, he was most probably referring to The Night Walker, because of that eyeball in the hand that appears in the opening sequence and on the poster art (which Final Cut have reproduced here for their release). By the way, I have to credit film historian Tim Lucas for being the first to muse over this connection. But I think he’s hit the mark.
Final Cut Entertainment’s UK DVD release features a lovely print of the film, but is lacking in bonus content – like the audio commentary that was included on the Shout Factory Blu-ray release in the US (whose trailer I have included below). Still, if you are a collector of William Castle’s films, and don’t have a multi-region player, then you should consider adding this to your collection.
When his profits are stolen following a delivery of genetically modified pigs, maverick space trucker John Canyon (Dennis Hopper) takes a profitable, no-questions-asked cargo to Earth, accompanied by apprentice trucker Mike (Stephen Dorff) and hitchhiker Cindy (Debi Mazar). But when they are captured by pirates, led by Captain Macanudo (Charles Dance), they discover the secret cargo is an army of androids that capitalist corp chief EJ Saggs (Shane Rimmer) plans to use to takeover the Earth…
I cannot believe I have never seen Space Truckers – and its by one of my fave genre directors too – Stuart Gordon (aka Mr Re-Animator), who got this gig on the back of success of 1992’s Fortress starring Christopher Lambert (whatever happened to him, btw?). So why did I miss this first time round? Well that’s because it never got a theatrical release, only HBO TV screening. But now Second Sight has brought out this must-get Blu-ray so that sci-fi fans can pay a much over-do revisit.
Gordon’s cast is a most excellent one and everyone plays it serious, especially scenery chewer Hopper, who plays a likeable hero this time round. Stephen Dorff and Debi Mazar provide the eye candy, especially when they step out of their cybergoth-meets-Starlight Express costumes and get all naked and sweaty. Cheers star George Wendt fame sneaks in a bizarre cameo before being sucked out into space, and its great to see Shane Rimmer in anything.
Charles Dance, meanwhile, steals the show as the disfigured half-man, half-machine ‘sonofabitch gimp rapist murderer’, who looks like a leather daddy steampunk version of Long John Silver, with a metal claw. He also gets some great lines like ‘If I had an anus, I’d probably soil myself’. Also making some excellent cameos are fanboy favourites Vernon Wells, Barbara Crampton and Sandra Dickinson.
Famed conceptual artist Hajime Sorayama created the designs for the space vehicles and the fantastic sleek and sexy six-foot robots. Interestingly, having just watched the Netflix reboot of Lost in Space, I couldn’t help notice how similar its robot design was to Sorayama’s – as was a key story element, when the Hub is breached and our heroes need to find a way to escape.
Space Truckers is all about fun and lots and lots of colour… in fact, there’s so much of it on display, its almost eye-watering. But it all works to highlight the film’s overall retro feel – making it a great companion piece to Flash Gordon and TV’s Buck Rogers, but also Richard O’Brien’s Rocky Horror follow-up Shock Treatment.
If you like your sci-fi colourful, camp and with an extra dose of cheese, then you are going to love Space Truckers. Oh! And watch out for the old lady in the cubicle – she’s a scream!
Out now on Blu-ray in the UK from Second Sight, with a host of special extras…
• Space Trucking with Stuart Gordon: A new interview with director Stuart Gordon
• Scoring Space Truckers: A new interview with composer Colin Towns (its a great score BTW!)
• The Art of Space Truckers: A new interview with art director Simon Lamont
• Cover art by Rich Davies
• English subtitles
On Saturday 26 May 2018, I spent a wonderful day in the coastal town of Whitstable in Kent to celebrate Peter Cushing’s 105th birth anniversary and see the handover of the legendary actor’s handprints to the Whitstable Community Museum & Gallery by long time fan Chris Hassell.
Peter’s secretary Joyce Broughton provided some great anecdotes about her dear friend, whom she always called ‘Sir’, while the museum’s volunteers put together a mini exhibition of Peter’s personal artefacts and memorabilia from some of the many items that they have in storage.
Lunch followed at the Peter Cushing pub – a former cinema where many of Peter’s classic Hammer films were shown; followed by a walk to Peter’s former home and his bench at Cushing’s View.
Interestingly, the plaque which has been missing for a while was recently returned to the museum, and Joyce was over the moon – as it was she who had organised to have it made in the first place. She is now hoping to have it reinstated on the bench very soon. Let’s just hope no-one vandalises it again.
Courtesy of the Peter Cushing Association, here’s a copy of the press release which tells the story of the handprints long journey to the museum.
At the end of the post, I have included a video that I made of the museum exhibition, which was mounted in 2013 to mark Peter’s centenary. The museum is now looking at redevelopment plans, which enable more of Peter’s personal items to go on permanent display.
THE TALE OF THE PETER CUSHING HANDPRINTS
Peter Cushing was one of the most beloved and important actors for the genres of horror and fantasy films. He began in British Theater before making a name for himself in Hollywood with such films as The Man in The Iron Mask and A Chump at Oxford. Cushing returned to his native England during World War II and soon after became a television star with such hits as Nineteen Eighty-Four, The Creature and Beau Brummell. To his fans however, Mr. Cushing is recognized mostly for his work with Hammer Films. He began to star in many of Hammer’s horror and fantasy films starting in the late 1950’s, which consequently breathed new life and energy into the nearly forgotten genre of classic horror films.
These films gained such favor and popularity with the public that Mr. Cushing was quickly catapulted to international stardom. Such classics included The Curse of Frankenstein, Abominable Snowman of the Himalayas, Horror of Dracula, The Mummy, Frankenstein Must Be Destroyed plus many more. He also appeared in films for Amicus – Hammer’s rival. Some of these classics included Dr. Terror’s House of Horrors, Dr. Who and the Daleks, Daleks Invasion Earth 2150 A.D., I Monster, Asylum, and Tales from the Crypt. Mr. Cushing capped off his career in the late 1970’s with Star Wars.
From then on, he made only a handful of films with Biggles being his last in 1986. Still very active in retirement, Mr. Cushing wrote two autobiographies, received the O.B.E. (Officer of the British Empire) in 1989, helped in raising money for cancer research, along with painting, collecting books, and bird watching in his spare time.
The Peter Cushing framed handprints you now see displayed at the Whitstable Museum were almost lost to history if not for the diligent actions of Peter Cushing Association member Chris Hassell. Peter Cushing had his hands cast in plaster in 1992 at Leicester Square in London. The plaster prints were framed and eventually displayed at the Prince Charles Cinema in London.
Years later a member of the Peter Cushing Association informed the group about the prints in their fanzine ‘The Cushing Courier’ which immediately struck the curiosity of Hassell who, finding no information about them in Cushing’s own autobiographies, wrote to the Prince Charles Cinema explaining about the Peter Cushing Association and inquiring about the prints.
Little did he know the events he would set in motion but weeks later Hassell received a postcard from Ben Freedman, owner of Robins Cinemas, who asked if he would like to come to London to collect the handprints! The Prince Charles was originally owned by the Cannon group and Robins Cinema had taken it over. Freedman wanted the prints to be housed in a suitable location relevant to fans of Peter Cushing.
Amazed at the response, Hassell reached out to Freedman who explained to him that the Cinema would consider donating the handprints to the Peter Cushing Association, so it could be displayed at a final resting place for all fans of Peter Cushing to view. Hassell worked with the first president of the Peter Cushing Association, Brian Holland, to send an issue of ‘The Cushing Courier’ with a letter outlining the plan for the handprints. On July 27, 1999, Robins Cinemas called Hassell to inform him they would be happy to donate ‘The Relic’ (the nickname Hassell gave the handprints) to the PCA.
After an unforeseen circumstance, Hassell was unable to pick up the handprints at Robins Cinema on October 22 at the Prince Charles Cinema. As described by Hassell, “Picture, if you will, a shallow wooden tray about four inches deep, eighteen inches square with sides almost one-inch-thick, filled to the brim with heavy and hardened years-old plaster. Inset into the plaster, a pair of hand-prints, above which is etched a very familiar signature and a date (‘92). Unfortunately, the middle finger of the left hand-print shows some slight damage but, otherwise, the plaster is perfect. Between, and slightly below, the two hand-prints is embedded a five-pointed golden star. In the middle of this star are engraved two words: ‘PETER CUSHING’.”
After the pickup, the PCA was awaiting a decision on whether the Whitstable Museum or the Theatre Royal, Chatham would become the final resting place for the Peter Cushing handprints. Unfortunately, the Theatre Royal closed-down and the PCA went through changes in leadership which delayed the final decision. The Whitstable Museum, with its permanent display of some of Peter Cushing’s personal items, was chosen as the final resting place of the handprints and Hassell was once again tasked with arranging the final trip. On May 26th, 2018, Peter Cushing handprints will finally be on display at the Whitstable Museum in town he called home.
Anyone interested in joining the Peter Cushing Association to enjoy and discuss his films and legacy (no dues to join, just request to join us on Facebook) please visit us at https://www.facebook.com/groups/petercushingassociation/
1932’s The Old Dark House is arguably director James Whale’s greatest cinematic feat, a macabre queer comedy disguised as a horror, delightfully acted (by lots of Brits abroad), and fused together with Whale’s stylistic, sardonic humour, well-knit scenario witty and insightful screenplay, and moody camerawork, lighting and production design. It is, quite possibly, the best British horror ever made – in Hollywood.
Taking its queues from JB Priestley’s 1927 novel, Benighted, and the ‘Old House’ chillers of stage and screen, Whale’s storm-driven adaptation finds five weary travellers becoming stranded at the ominous Welsh mansion of the reclusive and very strange Femm family, who are all quite possibly all insane. What follows is a wicked parody of the British class system, and one that features a performance from Ernest Thesiger that outshines even his iconic turn as Dr Pretorius in Whale’s The Bride of Frankenstein a couple of years later.
Thesiger plays Horace Femm, a sniffy little man, who is probably wanted by the police (for crimes we can only imagine) and has seething contempt for everything and everyone. He owns the house along with his pious half-deaf sister Eva (beautifully played by Eva Moore), and their scenes together provide the film with its most memorable moments and best lines: like ‘Have a potato’ and ‘How reassuring’.
Gloria Stuart and Raymond Massey play married socialite couple Margaret and Philip, while Melvyn Douglas is their playboy friend Roger. When a landslide forces them off the road, they seek shelter with the Femms; and are soon joined by Charles Laughton (making his screen debut and speaking his in native Yorkshire tongue) and Lilian Bond, who play the self-made businessman Sir William Porterhouse and chorus girl Gladys. But with no beds on offer, they are all forced to spend the evening huddle together around a fireplace after a frugal meal of roast, gravy and – yes- potatoes…
But it’s not long before the Femms skeletons starting coming out of the closet as the lights go out and the group are soon menaced by Boris Karloff’s mute butler Morgan, who hits the bottle and goes on a drunken rampage, which results in the release of Femm’s pyromaniac brother Saul (Brember Wills) from his locked attic room…
Whale’s shows off his perverse sense of humour through the stylistic, expressionistic camerawork (by Arthur Edeson, who also shot Frankenstein) in some very memorable scenes: like when Horace announces, ‘My sister was on the point of arranging these flowers’, then summarily throws them into the fireplace. Another is when Morgan makes his menacing entrance, and a particularly surreal funhouse mirror shot of Margaret and Rebecca, their features distorted in a vanity mirror. Then there’s the terrific trick shot of Morgan coming down the stairs only to reveal the hand on the banister is not his…
Packed to the rafters with morbid mirth and a sly wink at class and society, this is one of the most entertaining horror films of the 1930’s. The Masters of Cinema Series special dual format edition of James’s Whales’ queer comedy horror features a stunning 1080p presentation from the Cohen Media Group 4K restoration (with a progressive encode on the DVD), uncompressed LPCM audio (on the Blu-ray) and optional English subtitles; and includes a collector’s booklet featuring a new essay by Philip Kemp, archival material and previously unseen imagery and ephemera; and Limited Edition O-Card (first run only) featuring artwork by Graham Humphreys, created especially for the 2018 UK theatrical release. The special extras (below), however, are the icing on the cake, making this a must-have for any classic film collection…
• Meet the Femms This video essay by critic and filmmaker David Cairns is exceptionally executed, with loads of informative back stories on the production, cast and crew, super behind the scenes photos, incuding Whales’ own set designs, and I really enjoyed hearing actors Steven McNicoll and Angela Hardie voicing the various characters in Priestley’s novel, Benighted, as well as the author himself and Laughton’s wife Elsa Lanchester.
• Daughter of Frankenstein Sara Karloff talks candidly about her father and his work on this production, and has a great story about how Boris and Charles Laughton did not see eye-to-eye.
• Curtis Harrington Saves The Old Dark House This archival interview has the late-director (who became a close friend of Whale’s) recalling his efforts in rescing the film from oblivion back in 1968. Please, someone, give this man a posthumous medal for doing this!
• Commentary by Kim Newman and Stephen Jones This is a great listen, with some interesting bits of trivia like that fact that Karloff was dubbed, and Kim makes a very interesting link between the film’s structure (and its class-based ensemble) to disaster movies. This was made prior to Gloria Stuart’s death (aged 100) in 2010, as the duo talk about her in the present tense, and their comments are all based on viewing an inter-negative print.
• Commentary by Gloria Stuart This is absolutely riveting. Stuart is a joy to listen to and she provides huge amounts of personal insight (the film was a real high point in her acting career): admiring Whales’ sardonic humour, the uncomfortable shooting for the actors, her regrets at being a young 22 upstart making her second film who was unaware of Eva Moore’s pedigree (a suffragette, one of Edward VI’s favourites and the mother of Laurence Olivier’s first wife, Jill Esmond), and shedding light on some truths about why Karloff and Whale weren’t on friendly terms during the shoot.
• Commentary by James Whale biographer James Curtis This has lots of great insight into the film’s production, and I certainly learnt a few things. Did you know that Karloff’s mute butler Morgan became the model for the butler Charles Addams’ New Yorker cartoons? These were subsequently published as Drawn and Quartered, with a Foreward by Karloff and thus effectively the character became Lurch in The Addams Family. Curtis also examines the similarities and differences between Priestley’s novel and Whale’s screenplay – which makes for an interesting analysis.
With its enticing mix of black magic, bad science, vengeful ghost, murder, incest and voyeurism tied to a story inspired by Sheridan La Fanu’s Carmilla and the dark imaginings of Edgar Allan Poe, 1973’s Death Smiles on a Murderer (aka La morte ha sorriso all’assassino) is a beguiling Italian Gothic horror that owes as much to its mesmerising musical score as it does to its surreal, dreamlike imagery. But its also a twisted supernatural puzzle that will leave most viewers (including myself) scratching their heads.
Set in early 1900s Austria, and told in flashback, it centres on the enigmatic Greta (played by Swedish startlet Ewa Aulin of Candy fame), who dies in childbirth by her lover, Dr von Ravensbrück (Giacomo Rossi Stuart) and is then reanimated by her hunchback brother Franz (Luciano Rossi). Killing Franz, who subjected her to years of sexual abuse, Greta inveigles her way into the home of Ravensbrück’s son Walter (Sergio Doria) and his wife Eva (Angelo Bo), where she uses her charisma and beauty to win their hearts before seeking her revenge…
Now that all sounds simple enough, but I haven’t mentioned all the other sub-plots taking place, including the very odd presence of Klaus Kinski, who plays a perverted physician experimenting on a secret formula to bring the dead back to life – who suddenly gets killed off mid-way through. Frankly, his scenes are a bit of an obstruction to the haunting tale which was co-written and lensed by its director, Aristide Massaccesi (aka Italy’s legendary horror and sleaze exponent, Joe D’Amato).
The surreal nature of the narrative might be disorientating, but Massaccesi uses that to effectively capture the dread and terror of his source material, and these all play out in scenes which reference Poe’s The Black Cat, The Cask of Amontillado, Ligeia and The Masque of the Red Death, as well as La Fanu’s Carmilla.
Massaccesi also has great fun with the genre. Not only does he pay homage to Roger Corman’s Poe chillers (Walter’s attire is so Vincent Price), Hammer horror, and Mario Bava’s Kill, Baby Kill! (which also starred Giacamo Rossi Stuart); he adds in lots of softcore sex (more than Hammer were attempting at the time), hints of giallo and some pre-splatter OTT gore (just witness Franz’s very bloody, very long death scene where he gets his eyes gouged out by a cat). But what will haunt me forever is composer Bert Pisano’s hypnotic score, that’s mournful and playful in equal measures. I just can’t get it out of my head.
Arrow’s 2K restoration is simply gorgeous and contains an illuminating audio commentary from Tim Lucas, whose research and indepth knowledge really pays off, as he puts all the pieces of Massaccesi’s Gothic horror puzzle together with a shot-by-shot appreciation and analysis. The other must-sees are Kat Ellinger’s excellent video essay which covers the full breadth of the director’s work (and its truly mind-boggling how much he has done) and the 40minute-plus interview with Ewa Aulin. Thanks Arrow for another keeper…
• Brand new 2K restoration from the original camera negative
• High Definition Blu-ray (1080p) presentation
• Original Italian and English soundtracks
• Uncompressed Mono 1.0 PCM audio
• Newly translated English subtitles for the Italian soundtrack
• Optional English subtitles for the English soundtrack
• New audio commentary by Tim Lucas
• D’Amato Smiles on Death: archival interview with the director
• All About Ewa: Newly-filmed interview with the Swedish star
• Smiling on the Taboo: Sex, Death and Transgression in the horror films of Joe D’Amato, new video essay by critic Kat Ellinger
• Original trailers
• Stills and collections gallery
• Reversible sleeve featuring newly commissioned artwork by Gilles Vranckx
• Collector’s booklet featuring new writing by critic Stephen Thrower and film historian Roberto Curti
Time to reveal Graham Humphreys’ exclusive artwork for the Attack of the Adult Babies limited edition Blu-ray
Nucleus Films have released the stunning new artwork created exclusively by the legendary graphic artist Graham Humphreys for the slipcase 1-1000 numbered limited edition Blu-ray of Dominic Brunt’s Attack of the Adult Babies, which is being released nationwide on 11 June.
And, in further good news for genre fans, HMV will be racking the limited Edition Blu-ray in their “Special Edition range” in stores across the country.
Jake West, co-director of Nucleus Films, said today: “In a time where it’s increasingly difficult to release truly independent movies in physical formats, this is a real treat for film fans. As a movie collector myself, who enjoyed the thrills of the Video Nasty era, I loved the ritual of browsing through the racks and taking a chance on something because the cover art and title caught my eye.
We wanted to re-create the thrill of that era and what better artist could we ask to do that than Graham Humphreys – and what better film could there be than Dominic Brunt’s outrageous Attack of the Adult Babies!”
West’s partner at Nucleus Films, Marc Morris. added: “We’re very excited that HMV are really getting behind the release, giving fans of physical media a chance to pick up their copy in the real world!”
Graham Humphreys commentated: “I met Dominic Brunt at FrightFest some three or four years ago, where he mentioned the idea for the Adult Baby project, so it was a happy surprise to be asked to provide this slipcase cover for the Nucleus films release.
It’s always daunting working on an image with multiple elements, as a busy layout can be visually confusing. However, by focussing on key characters and using carefully considered colour palette, I hope I’ve managed some level of visual restraint. I’ve intentionally used ‘baby’ colours, pinks and pale blues, these contrast well with the dark red blood, capturing the creepy mix of the infantile and adult horrors.”
World premiered at FrightFest 2017, Attack of the Adult Babies has been described as disgusting, depraved, brave, bonkers, brilliant and quintessentially British in its humour and depravity…
The aftermath of a shocking home invasion forces three frightened family members to break into a remote country manor and steal Top Secret documents. Little do they know the stately pile is also the clandestine venue where a group of high-powered elderly men go to take refuge from the stresses and strains of daily life by dressing up in nappies and having a bevy of beautiful nurses indulging their every perverse nursery whim. Nor do they realise this grotesque assembly is compelled to refuel the world’s economy by very sinister, sick and monstrous means. As the bodily fluids hit the fan, the bloody carnage and freaky weirdness escalates.
Starring Sally Dexter, Charlie Chuck, Kate Coogan, Joanne Mitchell and Laurence Harvey, Attack of the Adult Babies is released on 11 June on Blu-ray, DVD and Digital Download and there is a special advance screening at Derby Quad, Friday 4 May, 7.45pm, with Dominic Brunt and Joanne Mitchell in attendance. A special London screening will be announced soon.
If you haven’t seen or heard of Michelangelo Antonioni’s 1975 thriller The Passenger – then you are in for a treat thanks to the new Indicator Blu-ray courtesy of Powerhouse Films.
Alienation of man in the modern world and lost identities were key themes in the film canon of Michelangelo Antonioni, who was a master manipulator of the conventional narrative. Just witness his 1960s quartet, La Notte, L’Eclisse, L’avventura and il deserto rosso, and his hip cult hit Blow-Up.
After a dalliance with the American counterculture movement in 1970s Zabriskie Point, the Italian auteur returned to his favourite themes for The Passenger, his third film with producer Carlo Ponti. Unfortunately, it died a death at the box office and quickly went out of circulation for many decades, until a re-release back in 2005, which has resulted in a growing new appreciation for this hidden gem.
This is the first time that the film has been released on Blu-ray in the UK, and the re-master is a knockout! Now, I absolutely adore Antonioni’s eye for the visual. Every shot is framed with a painterly approach, and he really knows how to use landscape and architecture as character.
The Passenger is no exception. Just take a look at the above screen grab. This was taken from a scene shot in a specially-built hotel in the Almeria town of Vera (standing in for Osuna in the film). The way the light falls on the straight lines of the interior just makes me swoon. The art decoration is by Piero Poletto (who also worked on L’Eclisse and L’avventura), while the camerawork is courtesy of Lucian Tovoli, who’d famously go onto lens Dario Argento’s Suspiria two years later.
Tovoli makes great use of some stunning Spanish locations and especially some iconic modernist buildings, including Antoni Gaudi’s La Pedrera and Parc Guell in Barcelona, and Patrick Hodgkinson’s modernist Brunswick Centre in London’s Bloomsbury (which had opened just a couple of years before the film was made).
But the stand-out scene is a seven-minute long tacking shot right at the end of the movie – and it is worth the wait as it was a major technical achievement at the time, that required the camera to move through a door barred with grates, then do a 180 degree turn and return back to the hotel interior. Of course, it could all be done with CGI today, but here Antonioni is at his most inventive and meticulous.
Typical of the director, the story is real head-spinner. Jack Nicholson plays world-weary journalist David Locke, who is making a documentary in Chad when he impulsively takes on the identity of a man called Robertson, whom he finds dead in his hotel room. He sees it as a chance to escape his old life and his wayward wife Rachel (The Final Programme‘s Jenny Runacre).
But he gets more than he bargained for when it turns out Robertson was a shady arms dealer and rashly takes a bundle of cash from gun-runners who want their merchandise. And Locke’s problems don’t stop there, as Rachel wants answers about his death and a cat and mouse situation ensues as Locke tries to flee the country aided by a young architecture student (Maria Schneider of Last Tango in Paris fame)…
This Blu-ray release of Antonioni’s arty road movie-cum-thriller is probably my favourite find of 2018 so far. It is also Jack Nicholson’s favourite film – so much so, he owns a personal print of the film.
Powerhouse Films’ Indicator UK Blu-ray release features a high definition remaster with the original mono audio and new and improved English subtitles, and the following special features…
• Alternative presentation: Italian Professione
• Audio commentary with actor Jack Nicholson (2006)
• Audio commentary with screenwriter Mark Peploe and journalist Aurora Irvine (2006)
• Audio commentary with film historian Adrian Martin (2018)
• Jenny Runacre on The Passenger (2018, 15 mins)
• Steven Berkoff on The Passenger (2018, 11 mins)
• Profession Reporter (1975, 5 mins): archival interview with Michelangelo Antonioni at Cannes Film Festival
• Antonioni on Cinema (1975, 5 mins): the acclaimed filmmaker on his philosophy of cinema
• The Final Sequence (1985, 13 mins): Antonioni analyses the climactic sequence
• Original theatrical trailer
• Collector’s booklet with a new essay by Amy Simmons
Jarman – Volume One: 1972-1986 | Six of the best from the iconoclastic British artist collected and restored on Blu-ray
24 years have gone by since his death aged just 52, but the legacy of British filmmaker Derek Jarman (1942-1994) lives on, and his highly personal work has lost none of its relevance or impact. The BFI have now released the first of two deluxe limited edition box sets that bring together six of his feature films on Blu-ray for the first time.
In the Shadow of the Sun (1974), Jarman’s debut abstract short film is comprised of a series of Super 8 films and is provided with a soundtrack from music group Throbbing Gristle. Personally, it was thanks to this film that I started experimenting with my own short films, and turned me into a big fan of Throbbing Gristle, Psychic TV and Coil.
Sebastiane (1976), Jarman’s debut feature film, spoken entirely in Latin and featuring an ambient score from Brian Eno, is an homoerotic account of the life and martyrdom of Saint Sebastiane (Leonardo Treviglio), a Roman soldier who is exiled to a remote outpost where his commanding officer (Barney James) becomes obsessed by him.
Jubilee (1978) | Queen Elizabeth I (Jenny Runacre) is transported through time from 1578 to 1978 by her astrologer John Dee (Richard O’Brien), where she sees what has become of her once glorious kingdom where law and order has broken down. Adam Ant, Toyah Wilcox and Jordan co-star.
The Tempest (1979) | Jarman creates his own interpretation of Shakespeare’s final play. Abandoned on a remote island by his brother Antonio (Richard Warwick), Prospero (Heathcote Williams), the former Duke of Milan, engineers a shipwreck to bring Ferdinand (David Meyer) the Prince of Naples, and his daughter Miranda (Toyah Wilcox) together in a bid to restore peace between Milan and Naples.
The Angelic Conversation (1985), a selection of Shakespeare’s sonnets are read by Judi Dench over atmospheric music by Coil and tableaux images of landscapes and people.
Caravaggio (1986) | A heavily stylised biopic of the Renaissance Italian painter Caravaggio (Nigel Terry) who falls in love with his muse, street thug, Ranuccio Thomasoni (Sean Bean).
Derek Jarman’s first six feature films have all been newly scanned at 2K from original film elements and are presented in this first box set alongside some incredible extras (listed below), all drawn from Jarman’s archive of workbooks and papers held in BFI Special Collections, plus a host of interviews with key cast, crew and friends, which have been exclusively produced for this release.
You can purchase Jarman – Volume One: 1972-1986 direct from the BFI bookshop or from Amazon and HMV (in the UK).
• Sebastiane: A Work in Progress (1975): newly remastered from 16mm film elements held by the BFI National Archive, this sadly incomplete early black and white work-print differs significantly from the finished film. This previously unseen alternate edit – assembled in a different order, featuring a different soundtrack – was never subtitled or released
• The Making of Sebastiane (Derek Jarman & Hugh Smith, 1975): previously unseen Super 8 footage shot on location in Sardinia
• Jazz Calendar (1968): a rarely screened documentary record of the 1968 ballet by Frederick Ashton, performed by The Royal Ballet at the Royal Opera House, for which Jarman designed sets and costumes
• Sloane Square: A Room of One’s Own (1974-76)
• John Scarlett-Davis remembers Sebastiane (2018)
• Message from the Temple (1981)
• TG: Psychic Rally in Heaven (1981)
• Pirate Tape (WS Burroughs Film) (1982)
• Toyah Willcox: Being Mad (2014)
• Jordan remembers Jubilee (2018)
• Lee Drysdale remembers Jubilee (2018)
• Stormy Weather: the Magic Behind The Tempest (2016): Toyah Willcox and Stuart Hopps share their memories of working on The Tempest
• John Scarlett-Davis remembers The Tempest (2018)
• Don Boyd remembers The Tempest (2018)
• A Meeting of Minds: Christopher Hobbs on collaborating with Derek Jarman (2018)
• Fragments of Memory: Christopher Hobbs on working with Derek Jarman (2007)
• To the Cliffs: James Mackay on working with Derek Jarman (2007)
• Derek Jarman: The Films that Never Were (2018): A look back on unrealised Derek Jarman features, including Egyptian period drama Akhenaten and science fiction horror Neutron
• Akhenaten Image Gallery & Neutron storyboards
• Audio commentary for Caravaggio by cinematographer Gabriel Beristain
• Caravaggio in Docklands (1985)
• Kind Blasphemy: Nigel Terry on Derek Jarman and Caravaggio (2007)
• Tilda Swinton on Derek Jarman and Caravaggio (2007)
• Italy of the Memory: Christopher Hobbs on Caravaggio (2007)
• Dexter Fletcher on Caravaggio (2014)
• Christopher Hobbs remembers Caravaggio (2018)
• Derek Jarman interviewed by Derek Malcolm (1986, audio only)
• In the Studio: Caravaggio soundtrack recording sessions (1986, audio only)
• Derek Jarman’s Caravaggio notebook (Gallery)
• Five galleries featuring storyboards, production designs and Jarman’s notes on Caravaggio
• Image galleries
• Original theatrical trailers for The Angelic Conversation and Caravaggio
• 80-page collector’s book
Here’s the specially commissioned poster artwork by Graham Humphreys, aka Britain’s Quadfather, to accompany the new 4k restoration release of James Whale’s chilling 1932 classic The Old Dark House, which will get a nationwide cinema release in the UK & Ireland.
This atmospheric thriller, which adapts novel Benighted into a nerve-jangling tale that became the template for all spooky-house chillers to come, features an unforgettable post-Frankenstein horror role for Boris Karloff, as the hulking, disfigured butler Morgan. Also starring in early-career roles are Melvin Douglas, Charles Laughton, Raymond Massey and Gloria Stuart.
The Old Dark House lands in selected cinemas in the UK & Ireland on 27 April ahead of its dual format release on 21 May as part of Eureka!’s Masters of Cinema Series.
In the meantime, enjoy the brand-new trailer.