That US Image/Hemdale DVD is the only one worth having. I agree with you. I was absolutely horrified when I heard the new soundtrack for The Terminator.
Currently approx. halfway through Rollerball (Jewison, 1975).
And to finish the dystopian viewing, we’ll watch a game of roller … no _foot_ball of Phil H’s Leyton Orient
Final day of my dystopian Easter weekend, and so far I’ve watched They Live (Carpenter, 1988) and Elysium (Blomkamp, 2013). Next up hopefully will be Robocop (Verhoeven, 1987)
Finishing off my dystopian Easter weekender now with Dredd (Travis, 2012). Seventeen dystopian-themed movies in four days, with time enough to squeeze in a Tom Hanks film too. Not bad! I failed to squeeze in three I’d planned for, though: The Road (Hillcoat, 2009), Logan’s Run (Anderson, 1976) and Battle Royale (Fukasaku, 2000). Another time, maybe.
After the Orient’s spirit lifting victory yesterday I treated myself to a viewing of Daughters of Darkness last night. My favourite Belgian vampire film. A small category I know, but still a cracking little film.
Very small, you know another one?
(Yes, I had to look it up )
Talking about the director, Harry Kümel, most of his fans think The Coming of Joachim Stiller is a better movie. It’s not a vampire movie, not even a real horror movie, but it’s quite unsettling. It was originally made for TV and I remember many young viewers were frightenend by the outlandish atmosphere
Kümel made also Malpertius, a film with Orson Welles. But it also seems to be a bit rare.
I re-watched Daughters of Darkness last year. A good film with some strong scenes, but some parts are too constructed. 7,5/10
It can be watched, in three parts, on You Tube:
1982’s The Scarlet Pimpernel, with Anthony Andrews… and Ian McKellen, whom I forgot was the main protagonist. He makes it worth seeing, in sort of a sniveling Roddy McDowell type role. Though lavishly produced, the film sags and strains like an old ship. The action is minimal. And surprisingly, very little horse-riding or carriage-chasing. -Though it seems half the movie takes place at a Paris-gate, with Andrews and his gang fooling the same guard-crew repeatedly, using props and disguises to smuggle people out of the city.
And we barely get a sense of ‘the guillotine’ being frighteningly sinister. Aristocrats could’ve just as easily been shot in the head.
Downton Abbey’s Julian Fellowes has a great role as England’s Crown Prince, but is utterly underused. So’s Jane Seymour for that matter… with black hair. It doesn’t do anything for her. And if you’re not a McKellen fan, the movie probably won’t do anything for you either.
THE LONG DAY’S DYING (1968, Peter Collinson)
I was attracted by the title, plus the name of the director that sounded vaguely familiar. Turns out that he was also the director of A Man Called Noon.
This war movie is quite different. I guess it was meant to be an arthouse war movie. There are intense, seemingly interminable close-ups and long silences and instead of dialogue we get men speaking to themselves in what’s probably supposed to be an equivalent of James Joyce’s stream of consciencenouss techniques. The story is about three British soldiers and a German captive and their trek through the European countryside. It was no doubt supposed to be very meaningfull, but I have no idea what it means.
Self-indulgent and sleep-inducing, but I read the film has its defenders (but these type of movies usually have)
And, the unforgettable, ‘The Italian Job’ (1969), with Michael Caine.
Peter Collinson directed some good films, including ‘Fright’, ‘Straight On Till Morning’, and the 1974 version of Agatha Christie’s ‘And Then There Were None’.
He died aged 44, from lung cancer - well before his time.
I’ll need to check out ‘The Long Day’s Dying’, at some point, but there’s no rush. There are too many other good films out there to be discovered.
Haven’t seen any of these, as far as I know. Maybe The Italian Job, but don’t remember anything
‘The Italian Job’ (1969).
An unforgettable opening theme sung by Matt Monro, accompanied by one of the best car chases ever, in one of the most iconic 60’s British films ever, with a cast of actors to die for…Michael Caine, Noel Coward, Benny Hill, Irene Handl, John Le Mesurier, and Rossano Brazzi.
Well, one to watch then …
I think it’s on Netflix.
I found it a rather average affair.
At least less good than expected. It was ok, but nothing special.