More random viewing: two obscure independent films from the BFI, Margaret Tait’s poetic Blue Black Permanent (1992) and Maurice Hatton’s gritty fake-umentary about the film business, Long Shot (1977); and three from Twilight Time – George Sluizer’s interesting Americanization of his existential thriller The Vanishing (1993), Terrence Young’s straightforward fact-based crime saga The Valachi Papers (1972), and D.W. Griffith’s monumental but deeply troubling Birth of a Nation (1915).
Although a very prolific director (of mostly television) from the 1950s to the ’90s, Paul Wendkos isn’t a well-known name today, though at his best he had a real flair for unsettling visuals which suited the burgeoning paranoia of the ’70s. That style is well showcased in The Brotherhood of the Bell (1970) and The Mephisto Waltz (1971).
Recent disks from Indicator present a wide variety of styles and genres from bleak ’60s espionage to slick 1970s big studio exploitation, charming period comedy to enjoyable if less-than-scary horror.
Indicator’s first box set of Hammer films on Blu-ray is an uneven selection of the studio’s mid-’60s output, including two of their best along with two of their weakest releases. Alongside Michael Carreras’ mediocre Maniac (1963) and The Curse of the Mummy’s Tomb (1964), we get The Gorgon (1964), on of Terence Fisher’s finest Gothic horrors along with Silvio Narizzano’s debut feature, Fanatic (1965, aka Die! Die! My Darling!), the best of Hammer’s psychological horrors, all sporting excellent transfers and informative special features.
Michael Powell’s final masterpiece, Peeping Tom (1959) virtually ended his filmmaking career, but it’s rediscovery in the 1970s and ’80s restored him to the pantheon of cinematic greats. Revisiting the film on Blu-ray reinforces my appreciation of a film which was ahead of its time.
The discovery of a previously unknown documentary, Robert Kaylor’s Derby (1971), plus a Blu-ray edition of Stephanie Rothman’s Terminal Island (1973), a rough-and-ready exploitation B-movie, are of much greater interest than Jack Cardiff’s Holiday in Spain (1960), a bloated mainstream Cinerama showcase which dresses its travelogue in a tissue-thin “mystery” plot.
Another eclectic selection from my recent viewing, from an old fondly remembered BBC sci-fi series to an unsettling French psychological thriller, from a nasty John Frankenheimer thriller to a pair of atypical Rossellini features striving to break out of the confines of neorealism.
Recent Blu-rays from Twilight Time are as eclectic as ever. A couple of mainstream Hollywood classics; an oddball excursion into pulp by one of the great Hollywood directors; and a devastating animated fable by a Japanese-American filmmaker based on a very English graphic novel.
Recent viewing runs the horror gamut from the low-budget exploitation of David Cronenberg’s debut, Shivers, to George Romero’s bid for studio respectability with a pair of adaptations in the late ’80s and early ’90s, to a really creepy Australian first feature, Jennifer Kent’s remarkably assured The Babadook.
Genre, of course, is not limited to the fantastic — science fiction, fantasy, horror. Contemporary and historical dramas can also fall within genre boundaries. Prisoners (Denis Villeneuve) Denis Villeneuve’s thriller was much-praised by critics and audiences alike, and yet it struck me as a genre movie desperate to convince its viewers that it was actually […] Read More
Kenneth George Godwin, Film Editor
I have been editing a wide range of film and video projects, both documentary and drama, for two-and-a-half decades. I started at the Winnipeg Film Group, cutting on Steenbeck 16mm flatbeds, adopted Avid in 1995, and have used FinalCut Pro quite extensively over the past ten years. Projects I have worked on have screened – and won awards – at festivals around the world.read more >>
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