Screwball comedy and heady thrills collide in director John Farrow’s superior noir suspenser, The Big Clock (1948), adapted from the classic 1946 Kenneth Fearing novel of the same name.
Overworked true crime editor George Stroud (Ray Milland) has been planning a vacation for months. However, when his boss, the tyrannical Earl Janoth (Charles Laughton), insists he skips his holidays, Stroud resigns before embarking on a drunken night out with his boss’ mistress, Pauline York (Rita Johnson). When Janoth kills Pauline in a fit of rage, Stroud finds himself becoming the prime suspect in her murder…
Charles Laughton may steal the limelight here, but Elsa Lanchester (aka Mrs Laughton) is a real gem as the zany painter with a string of ex-husbands. Ray Milland and Maureen O’Sullivan (aka Mrs Farrow) are also good as the hero and heroine, and George Macready is super hissable as usual. Farrow tops off his terrific vintage thriller with an exciting chase climax.
The Arrow Academy Blu-ray edition of The Big Clock is out on 13 May 2019
• High Definition Blu-ray (1080p) presentation transferred from original film elements
• Uncompressed Mono 1.0 PCM audio soundtrack
• Optional English subtitles for the deaf and hard of hearing
• New audio commentary by film scholar Adrian Martin
• Turning Back the Clock: analysis of the film by Adrian Wootton
• A Difficult Actor: an appreciation of Charles Laughton by Simon Callow
• 1948 radio dramatisation by the Lux Radio Theatre, starring Ray Milland
• Original theatrical trailer
• Reversible sleeve featuring two original artwork options
French director Henri-Georges Clouzot is best-known for his critically-acclaimed suspense films, Le Corbeau, Les Diaboliques (which inspired Hitchcock’s Psycho) and Wages of Fear. But by the mid-1960s, as cinema took a step to the left ‘Bank’ with the rise of the French New Wave, Clouzot and his thrillers were dismissed as old hat (which was pretty weird considering how much young bloods like Truffaut and Godard admired Hitchcock’s Psycho). But owing to his international reputation, Clouzot got a blank cheque from US studio Columbia to make any projected he wanted.
Set in a lakeside resort in Auvergne, 1964’s L’enfer d’Henri-Georges Clouzot (aka Inferno) was to be a sun-scorched elucidation on the dark depths of jealousy with Romy Schneider (famous for the 1950’s Sissi period dramas) playing the harassed wife of a controlling hotel manager (The Leopard‘s Serge Reggiani).
But the production – which involved three crews and 150 technicians – was cursed from the outset. Reggiani fell ill and had to be replaced, the crew suffered badly from a July heatwave, the lake they were using as a location was about to be drained for a hydroelectric project and Clouzot suffered a heart attack. After three weeks, the film was shut down…
But that’s not the end of the story as Clouzot had one more film in him – and it was a beauty. After getting the all-clear from his doctors and finishing a number of TV documentaries, Clouzot filmed La Prisonnière (1968), which incorporated stylistic elements from the aborted L’enfer.
Having just seen the new 4k restoration at a special screening in London, I can safely say this final work is Clouzot’s finest (and I shall be writing about that at length soon). But it would not have been possible without L’enfer – whose surviving footage forms the bases of this César Award-winning 2009 documentary.
Thirty years after Clouzot’s death in 1977, his widow, Inès de Gonzalez, found herself trapped in a lift with film-maker Serge Bromberg, during which time he learned that Inès had 185 cans of film (about 15 hours) of the unfinished film.
Entrusted with the material, Bromberg and fellow film-maker Ruxandra Medrea used selected bits of the expressionistic original rushes, screen tests, and on-location footage to reconstruct Clouzot’s original vision, while also shedding light on the ill-fated endeavour through interviews, dramatisations of unfilmed scenes, and Clouzot’s own notes.
The result is quite dramatic, especially as it puts a spotlight on the notoriously meticulous director who became increasingly alienated and paranoid (especially with his cast) as his dream project became an all-consuming passion – much like the Arabian Nights animation, The Thief and the Cobbler, the 30-years-in-the making but never finished project which took over the life of Richard Williams (and became the subject of the must-see 2012 documentary The Persistence of Vision).
The Arrow Academy release includes a HD Blu-ray presentation of the documentary, with original 5.1 DTS-HD Master Audio, optional English subtitles, and the following extra…
• Lucy Mazdon on Henri-Georges Clouzot, the French cinema expert and academic talks at length about the films of Clouzot and the troubled production of Inferno
• They Saw Inferno, a featurette including unseen material, providing further insight into the production of Inferno
• Introduction and interview with Serge Bromberg
• Stills gallery
• Original trailer
• Reversible sleeve featuring newly commissioned artwork by Twins of Evil
• Illustrated collector’s booklet (first pressing only) featuring new writing on the film by Ginette Vincendeau
In 1864, 18-year-old Ludwig II (Helmut Berger) ascends the throne of Bavaria. Following a scandal involving Richard Wagner (Trevor Howard) and his mistress Cosima von Bulow (Silvana Mangano), Ludwig is forced to expel them from Munich. Under pressure to marry, the latently homosexual king, who is having an intense relationship with Hungarian actor Josef Kainz (Folker Bohnet, agrees to an arranged wedding with his cousin Sophie (Sonia Petrovna). But the strain of this relationship, the war with Prussia, and fears of a conspiracy brewing his court play havoc on his mental state…
With a string of masterpieces behind him – including Ossessione, Senso, The Leopard and Death in Venice – director Luchino Visconti turned his attentions to King Ludwig II of Bavaria with this lavish 1972 historical drama that traces his bizarre 22-year reign, ending with his mysterious death in June 1886.
Sporting a sickly countenance and redden eyelids, Helmut Berger’s Ludwig cuts a miserable figure, who sinks further into despair and madness as he moves from one overly ornate palace and castle to another, which soon become gilded prisons, made all the more claustrophobic by the incessant rain and snow showers.
Featuring Armando Nannuzzi’s sumptuous cinematography and Piero Tosi’s Oscar-nominated costume design, Visconti mounts his epic of 19th century decadence on such an opulent scale – and in the very locations that the real king lived (*) – that it needs to be seen in its entirety to admire its dazzling operatic stature. And this new Arrow Academy release presents the film in its completed form in accordance with the director’s wishes, and – for the first time on home video – includes the English-language soundtrack.
Berger dominates every scene, but he does get some excellent support from the ever-reliable Trevor Howard, who is the spitting image of Wagner, and The House That Screamed’s John Moulder-Brown, as his mentally-unstable brother, Prince Otto, while Romy Schneider reprises her Elisabeth of Austria characterisation from the classic Sissi trilogy. The music includes Richard Wagner’s last original composition for piano, as well as works by Offenbach and Shuman. A melancholy masterpiece deserving of a revisit.
ARROW ACADEMY RELEASE
• 4K restoration from the original film negative
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Two viewing options: the full-length theatrical cut (1hr:15min) or as five individual parts (with the full pisodes 1-3 are on disc 2)
• Original Italian soundtrack with optional English subtitles
• Original English soundtrack available with optional English subtitles (This version also includes the Italian soundtrack where no English track was recorded… which makes for any interesting experience. But if you are familiar with Italian, then it works quite smoothly)
• Interview with actor Helmut Berger (OMG! Be afraid! Be very afraid! Helmut is very candid and very eccentric)
• Interview with producer Dieter Geissler (who also did Short Night of the Glass Dolls, Without Warning and The Neverending Story)
• Luchino Visconti: an hour-long documentary portrait of the director by Carlo Lizzani (Requiescant) containing interviews with Burt Lancaster, Vittorio Gassman, Francesco Rosi, Claudia Cardinale and others
• Speaking with Suso Cecchi d’Amico: an interview with the screenwriter
• Silvana Mangano – The Scent Of A Primrose: a portrait of the actress (30min)
• Theatrical trailer
• Collector’s booklet containing new writing by Peter Cowie (first pressing only)
DID YOU KNOW?
(*) The film was shot on location in Munich and Bavaria, including Roseninsel, Berg Castle, Lake Starnberg, Castle Herrenchiemsee, Castle Hohenschwangau, Linderhof Palace, Cuvilliés Theatre, Nymphenburg Palace, Ettal, Kaiservilla and Neuschwanstein Castle.
The Blue Dahlia (1945) | Raymond Chandler’s only original screenplay is a hard-boiled film noir classic must-see
The classic 1940s noir thriller, The Blue Dahlia, stars Alan Ladd as discharged naval flier Johnny Morrison who returns home to Los Angeles to discover his wife Helen (Doris Dowling) has been unfaithful. When she is found murdered, Johnny becomes the prime suspect and promptly goes on the run.
The always gorgeous Veronica Lake then turns up as Joyce, the wife of nightclub owner Eddie Harwood (Howard Da Silva) – who was Helen’s lover – and with the help of Johnny’s army pals, Buzz (William Bendix) and George (Hugh Beaumont), tries to clear his name…
Crime writer Raymond Chandler scored an Oscar nomination for his lean and mean original screenplay. It was the only one he ever wrote specifically for a movie and one in which he completed while ‘drunk’ when production was speeded up on the film because Paramount studio bosses feared Ladd would be re-inducted into the real-life US army.
The film, which was directed by George Marshall (of Destry Rides Again fame), also marked the third pairing of Ladd and Veronica Lake following 1942’s This Gun for Hire (which made Ladd a star) and The Glass Key (also available from Arrow Academy). It was released to great acclaim and has since become a must-see film noir classic.
William Bendix is a standout as Ladd’s shell-shocked war buddy who keeps complaining of ‘monkey-music’ in his head and the complicated story – all set in Hollywood’s decadent night club strip – keeps twisting brilliantly until the final cop-out ending (that was also done to placate the US war office).
A radio play version of the film was broadcast on 21 April 1949 as part of the The Screen Guild Theater, starring Ladd and Lake in their original film roles.
The Blue Dahlia is out now on Blu-ray from Arrow Academy in the UK. The extras include selected scene commentary and an introduction from author Frank Krutnik, the 1949 radio play, original trailer, gallery and promotional materials. Plus, a collector’s booklet (first pressing only).
From those fine purveyors of world cinema Arrow Academy comes the Jacques Rivette Collection, which brings together some of the director’s hardest to see works, each given a 2k restoration, newly translated and debuting on home video (Blu-ray and DVD) for the first time in UK.
Out 1 is one of the crowning achievements of Rivette’s remarkable career. Conceived as a television mini-series, this 13-hour monolith consists of eight feature-length episodes revolving around two theatre companies, blackmail and conspiracy. Multiple characters introduce multiple plotlines, weaving a rich tapestry across an epic runtime. Originally screened just the once in its full-length version in 1971, Out 1 was then re-conceived by Rivette as a four-and-a-half-hour feature and re-named Out 1: Spectre to acknowledge its shadow-like nature.
Complementing Out 1 are two ‘parallel films’, Duelle (une quarantaine) and Noroît (une vengeance). The former sees Rivette head into fantasy territory: the Queen of the Sun (Bulle Ogier) and the Queen of the Night (Juliet Berto) search for a magical diamond in present-day Paris. The latter is a loose adaptation of The Revenger’s Tragedy and a pirate tale, starring Geraldine Chaplin. Also included is Merry-Go-Round, in which Joe Dallesandro and Maria Schneider are summoned to Paris, kick-starting the most surreal of all Rivette’s mysteries.
Arrow Academy’s limited edition Blu-ray/DVD box-set (only 3000 copies) includes the following bonus features…
• The Mysteries of Paris: Jacques Rivette’s Out 1 Revisited – a brand-new feature length documentary featuring interviews with the cast and crew, and director Jacques Rivette.
• Scenes from a Parallel Life: Jacques Rivette Remembers – archive interview with the director, in which he discusses Duelle, Noroît and Merry-Go-Round.
• Interview with critic Jonathan Rosenbaum, who reported from the sets of both Duelle and Noroît.
• Collector’s book containing new writing on the films.
Bicycle Thieves (1948) | Cinema re-release – Vittorio De Sica’s celebrated postwar drama back in UK cinemas
Italian Actor/director Vittorio De Sica is best known for his celebrated 1948 film Bicycle Thieves, which tells the story of a simple man called Antonio who scours the streets of Rome looking for his stolen bicycle, which he needs to be able to secure work.
Ranking high in almost every Top 20 film poll imaginable, Bicycle Thieves is neorealism at its best, making excellent use of non-actors and real locations. But this is no improvised documentary, rather a tightly woven drama about humanity surviving the devastating after effects of war and poverty. Unforgettable.
• Bicycle Thieves screens at the BFI as part of the Vittorio De Sica season until Thursday 27 August (so catch it while you can)
• The 2014 Arrow Academy Dual Format release features a restored, high definition transfer of the film; feature length documentary on screenwriter Cesare Zavattini; documentary portrait of De Sica; trailer; and booklet.
Miracle in Milan (1951) | Vittorio De Sica’s sublime Italian fantasy parable is a ray of sunshine in a cynical age
In between making his gritty neo-realist masterpieces Bicycle Thieves and Umberto D, Italian director Vittorio De Sica lensed the fantasy parable Miracle in Milan, that would earn him the Grand Prize at Cannes in 1951.
Francesco Golisano (who tragically died at the age of 29 in 1958) gives a beautifully, understated performance as Toto, an orphan possessed by eternal optimism. Abandoned at birth, Toto was raised by the elderly Lolotta, who taught him to find joy and wonder in the simple things in life. Following her death, he is placed into an orphanage, but when he leaves, he ends up wandering the streets with the city’s beggars.
Finding refuge at an old rubbish tip on the outskirts of the city, Toto’s optimistic approach to life infects all those he encounters. Soon he and his fellow poor are creating their own mini-town, complete with street signs, main square and water fountains, and all is happy until Toto receives a magical dove that grants wishes. When the shantytown residents use the dove for materialistic purposes, two angels steal the dove back just when Toto needs it most – to stop the town from being razed to the ground by the new owners.
In the 1950s, Italy experienced an economic miracle with industry booming and living standards rising sharply. However, there was still acute poverty throughout the country – especially in the south. De Sica’s fantasy is a direct response to this and to the universal themes of the great rich and poor divide – something that has special resonance today – especially if you think of the worldwide Occupy movement.
But unlike de Sica’s other neo-realist films – especially Il Tetto (The Roof), this is not a harrowing tale of misery, but a lesson in the power of optimism in the face of adversity. And while the later half of the film does become somewhat farcical, it is Golisano’s gripping performance as the Christ-like Toto that carries the film.
Miracle in Milan screens Saturday 8 August and Monday 10 August at the BFI as part of the Vittorio De Sica season and is available as a Dual Format and Blu-ray release (both including Il Tetto) from Arrow Academy
The Strange Case of Dr Jekyll and Miss Osbourne (1981) | Walerian Borowczyk’s ravishing take on the classic tale is ripe for reappraisal on Blu-ray
Walerian Borocywck’s 1981 arthouse take on Robert Louis Stevenson’s classic allegorical tale is a ravishingly surreal oddity laced with satirical dark humour, an important work within the director’s oeuvre, and one of the best interpretations of the iconic story. Now, from Arrow in the UK, the French-West German erotic thriller has been given an exclusive Blu-ray release.
‘Long live the novelty of my sensations!’
A gentile engagement party for Dr Henry Jekyll (Udo Kier) and his fiancée, Fanny Osbourne (Marina Pierro) descends into murder and mayhem when a madman breaks into Dr Jekyll’s London townhouse and starts raping and killing his guests. But why is the good doctor never around whenever another guest comes under attack?
The Strange Case of Dr Jekyll and Miss Osbourne is like peeping through a Victorian Mutoscope, where an Orton-esque farce or a scandalous Bunuel-esque drama unfolds like a perverse wet dream. Rape, sodomy and murder are all carried out in dark corners, behind flapping velvet curtains and closed doors, involving the pillars of Victorian society, before a bizarre metaphysical marriage of flesh, blood and sexuality brings the waking nightmare to a delirious climax…
If Borocywck wanted to place us inside Louis Stevenson’s own fever-infected unconscious when he dreamt up his original 1885 Jekyll and Hyde manuscript while recovering from a serious illness, then he certainly nailed it with this 1981 erotic thriller. And if he wanted to portray Jekyll’s transformation as a violent rebellious assault on Victorian morality, taste and decency, then he nailed that too.
With a meticulous eye for detail in the film’s sets, décor and ephemera, and gorgeous soft-focus camerawork that evokes sepia photo montages of old (like the work of Oscar Gustav Rejlander), Borocywck’s barely-seen film (it was only ever screened in soft-core sex theatres and arthouse cinemas) will make you swoon or snore – depending on what kind of cinephile you are.
While I’m a big fan of Borowczyk’s aesthetics, what really drew me here was Udo Keir (as Jekyll) and Patrick Magee – two character actors whose careers have often skirted cinema’s lunatic fringe. I love them both in whatever they do (good, bad or dreadful), and Magee (playing a pervy General) certainly doesn’t disappoint, especially as his inimitable booming voice is retained on the dubbed English track.
Euro-cinema’s go-to weirdo Keir, meanwhile, is far more restrained than usual (he’s also dubbed, which is a pity), and doesn’t get to let loose except in the film’s key transformative bath scene – in which he thrashes about like a big kid at bath time – before turning into the eyebrow-less Mr Hyde (Gérard Zalcberg).
But the film’s most memorable moment – and it’s most accomplished – is the film’s long final scene in which Hyde/Jekyll and Fanny literally feast on each other inside a hansom carriage as it races through a fog-bound London. It’s key to Borowczyk’s themes of transcendence that get lost amid the shouting and sodomy earlier on in the film, but which play out with brutal beautiful carnality.
While Borowczyk is best known for his sensational erotic offerings like The Beast and Immoral Tales, The Strange Case of Dr Jekyll and Miss Osbourne is a poetically macabre offering that’s ripe for reappraisal and this meticulously-curated Arrow release is the way to go. It also looks and sounds fantastique, and makes for a great companion piece to the Borowczyk retrospective box set that Arrow released back in 2014 (and which quickly sold out).
THE ARROW ACADEMY RELEASE
• New 2K restoration (in all its diffused loveliness), scanned from the original camera negative and supervised by cinematographer Noël Véry, with restored English and French soundtracks in LPCM 1.0, and optional English subtitles.
• Audio commentary featuring a 1981 interview with Walerian Borowczyk and new interviews with cinematographer Noël Véry, editor Khadicha Bariha, assistant Michael Levy and filmmaker Noël Simsolo.
• Happy Toy (1979): arty short based on Charles-Émile Reynaud’s praxinoscope, which reveal’s Borowczyk’s naughty sensationalist side.
• Himorogi (2012): this wordless short by Marina and Alessio Pierro is a sight and sound response to Borowczyk’s aesthetics.
• Interviews with Udo Keir, Marina Pierro, Alessio Pierro (on Himorogi), Sarah Mallinson and Peter Foldes.
• Appreciation by Michael Brooke.
• Eyes That Listen: featurette on composer Bernard Parmegiani.
• Phantasmagoria of the Interior: video essay by Adrian Martin and Cristina Alvarez Lopez.
• Returning to Méliès – Borowczyk and Early Cinema: featurette by Daniel Bird.
• Theatrical trailer.
• Reversible sleeve with artwork based on Borowczyk’s own poster design.
• Booklet, with new writing and archive materials (Daniel Bird and Michael Brooke have great fun with the production credits).
On 11 April, 1980, the Palme d’Or winning West German film The Tin Drum got its international release in the US, and would go on to win a Best Foreign Film Oscar at the 52nd Academy Awards (on 14 April). But it took over three decades for the original theatrical version and the Director’s Cut of the 1979-made film to finally become available for the home cinema market. In honour of the recent passing of Nobel laureate author, Günter Grass, 35-years (almost to the day) after the film’s release, here’s a look back at my 2012 post on the Arrow Academy HD dual format release.
Based on the 1959 first book in Günter Grass‘ acclaimed Danzig Trilogy, The Tin Drum follows the life of Oskar (David Bennent) who refuses to grow up after receiving a drum for his third birthday. With a scream that shatters glass, Oskar becomes so attached to the drum that anyone who tries to take it away from him soon feels his aural wrath. What follows is a child’s-eye perspective on the rise of Nazism in Oskar’s native Danzig, the ‘free city’ that was claimed by both Germany and Poland whose invasion in 1939 started World War II (and was also the birthplace of author Grass).
Darkly comic in spirit and awash with bizarre, grotesque imagery (some of which remains controversial), The Tin Drum, directed and co-written by Volker Schlöndorff, is like the perfect marriage of Pasolini politics, Buñuel satire and Fellini freak show. But it’s the standout performance of the 12-year-old Bennett that carries the film and stays with you forever.
The Arrow Academy 2012 release includes both High Definition and Standard Definition presentations of the original theatrical version, and a HD presentation of the Director’s Cut (on Blu-ray only). Both are approved by the late director, who also provides an audio commentary, and (on the Blu-ray only) an interview about the new cut. There’s also a comprehensive booklet with some scholarly writings for New German Cinema enthusiasts.
WATCH THE TRAILER
The Beast (1975) | Is Walerian Borowczyk’s horny black farce the most outrageous erotic fantasy ever committed to film?
The night before her wedding, American heiress Lucy Broadhurst (Sirpa Lane) arrives at her aristocratic fiancé’s secluded French country estate and learns about a legendary beast that stalks the nearby woods. That night she dreams of an erotic encounter with the half-man half-beast…
This bizarre, yet beautifully shot erotic fairytale is Walerian Borowczyk’s most notorious film. Expanded from the planned Immoral Tales segment, The Beast (The Bête) sees the director at his most extreme. In turns silly, nasty, comic, disturbing and (for those of in the back row) voyueristically arousing, it cemented Borowczyk’s reputation as the ‘arty pornographer’, which began after he showed his vintage erotica short A Private Collection and an early version of Immoral Tales in 1974.
With its heavy overtures of bestiality and blatant appropriation of pornographic images, its no wonder censors around the world took a hefty pair of scissors to it or banned it outright. But, ever the provocateur, Borowczyk had a wry smile at the censors and his critics, because lurking behind what must be the most outrageous erotic fantasy ever committed to film is a playful satire on sex and desire.
THE UK DUAL FORMAT RELEASE
Receiving its Blu-ray world premiere, this new 2k high-definition restoration by Argos Films. The Arrow Films dual format release (which includes a standard definition DVD) includes the following elements…
• New high definition digital transfers of the feature and the shorts, with uncompressed mono 2.0 PCM audio and optional English subtitles
• Introduction by film critic Peter Bradshaw (2014)
• The Making of The Beast (2014), camera operator Noël Véry provides a commentary on footage shot during the film’s production
• Frenzy of Ecstasy: The Evolution of the Beast, (2014), visual essay on the evolution of Borowczyk’s beast and the sequel that never was, Motherhood
• Venus on the Half-Shell (1975), Borowczyk’s portrait of the painter Bona Tibertelli de Pisis and her erotic fusions of men, women and molluscs
• Original trailer