After he has come back from travelling, a wealthy young man named Tony (James Fox) decides to employ a house servant. Hugo Barrett (Dirk Bogarde) successfully applies for the position. The relationship works well but this soon changes when Tony’s girlfriend Susan starts to spend time at Tony’s abode. She seems not to treat Barrett as human and takes the role of ‘master’ to his ‘servant’ to almost cruel lengths. Things get even more surreal with the introduction of Barrett’s ‘sister’ who comes to work under Tony in the same subservient role.
I’m surprised I’ve only just seen this film for the first time. It was worth the wait. This is brilliant on every level. There are universally fantastic performances especially from Fox and Bogarde who throw themselves into the descent into madness which Harold Pinter’s adaptation of Robin Maugham’s book portrays.
In fact, Pinter has a cameo role in the scene in the restaurant which epitomises the convention-breaking nature of the material at hand. We are shown an excerpt from the conversation from each table in the venue. We’re privileged enough to become privy to multiple different narratives and stories from many different characters, not just Tony and his girlfriend. One of these pairings is Pinter as a socialite and his date.
Check out director Joseph Losey’s use of mirrors to portray the action but also to distort it’s view to the audience just as the film’s events are being shaped and distorted. Also, check out Douglas Slocombe’s cinematography which is breathtaking.
The film also reverses, subverts and delightfully fiddles around with the power dynamic of the ‘master’ and ‘servant’- who is serving who? Do the truly subservient characters even realise?
In fact, things get so surreal that I would have sworn that Pinter had written this story himself rather than just adapting it. This would make a great triple-bill with William Friedkin’s The Birthday Party (also written by Pinter) and Polanski’s Repulsion.
On The Servant’s release it won a raft of awards and rightfully so. It also resides on The BFI’s Top 100 British Film’s list.
4 out of 5 stars
Yield to the Night finds the character of Mary Price Hilton shoot her boyfriend’s lover and then spending her time in prison awaiting her execution by hanging. Her story is told in flashback during this stay.
On the 7th day God created Diana Dors. From her TV appearances on The Two Ronnies (playing the head of a female army who wish to take over and make all men subservient) through to her appearance in the Adam and the Ants video for Prince Charming, Ms Dors was a regular part of my childhood.
I then discovered the TV series of Queenie’s Castle from the 70’s (filmed here in Leeds) which fully exuded Dors’ abilities as a great actress.
Yield to the Night was the only worthwhile foray into film for Diana with subsequent vehicles being a complete waste of her talents. This film is amazing. The flashback sequences which show how a sultry goddess could be driven to murder are fully rounded, believable and achingly painful. As are the sequences in which she is in captivity. Check out the internal monologues we’re privileged to partake in and how she is far from a blonde bimbo. These observations about her plight and her fate are reminiscent of Travis Bickle’s musings in Taxi Driver.
A strong case is made for the brutality of capital punishment in a ‘civilised’ society and how wrong it is. Thankfully since the film’s release this has now been rectified. You will think of this film when someone comments ‘They should bring back hanging’ in response to a news story.
4/5 out of 5 stars
A privileged and thoroughly unlikeable woman ventures out to try to get into a party that George Clooney is supposedly to be at (really) and after failing to flag down a cab decides to get the last tube train from her local underground station. She then briefly falls asleep and on waking up discovers that she is all alone in the station. Or is she?
There have been horror films in the past that are either centred entirely around the London Underground (Deathline is one) or have had a scene set in a station on it (An American Werewolf in London springs to mind).
As someone who used to live in London I know how unsettling a tube line or station can be late at night when they are eerily quiet. Creep has this setting but unfortunately wastes this great location and premise.
Maybe it’s the fact that the female lead character is just so vile. At one point in the film she seeks help from the homeless living under the station. This social divide between the rich and poor should have been explored in more depth but wasn’t.
Also, when the person stalking her is finally revealed it’s a massive anti-climax. He’s a Jason Voorhees of the Piccadilly Line but without the hockey mask, charisma or ingenuity when it comes to killing.
I would have loved to see the brattish lead suffer more for her horrible personality and thus learn some compassion and humanity as a result, a kind of cathartic redemption. But this doesn’t happen. A wasted opportunity.
2 out of 5 stars
This has one of the most crazy plots of any Hammer film I’ve ever seen. I won’t give away everything that happens though.
A Cornish village is suffering from some sort of plague that is bumping people off at such a rate that the local doctor asks an expert friend to investigate what is happening. When opening up the graves of the recently deceased they discover that all of the coffins are empty. Could the answer to this mystery be connected with the tin mine which is on the land of Squire Clive Hamilton? Is it also relevant that he used to live in Haiti and the fact that he practiced voodoo and the black arts whilst he was there?
I remember seeing this in the 80s as my local television station used to show a double-bill of Hammer films every Thursday night (a blessing!) It was scary then and it’s retained it’s ability to shock. The zombies themselves are the stuff of nightmares.
But unfortunately the film drags every now and again. But on the whole it’s worth seeing, even if it’s not the best of the studio’s output.
Fun fact- Martin Scorsese thinks highly of this film.
2/5 out of 5 stars
I remember so well the 1981 BBC1 adaptation of Day of the Triffids. It may now be dated but, by Christ, it gave me plenty of sleepless nights as a 6 year old boy.
Years later I discovered the work of author John Wyndham who is now one of my favourite writers. Day of the Triffids is one of his best books.
I didn’t know that there was a 1963 film version of his opus. I’m glad I’ve now seen it as it looks gorgeous. In these days of Blu ray restorations this film is a prime candidate. If a 4K scan of an original and restored print was released this film may be appreciated as a long-forgotten gem.
The plot involves a meteorite shower making whoever saw it go blind. Fortunately our leading man Bill Masen is in an eye hospital after an accident which has damaged his sight. His heavily bandaged eyes mean that he was spared from seeing the meteors fall. Plants called triffids have started to grow and come to life seemingly because of the shower. They are carnivorous, can walk and possess a very high intelligence. Oh, and they seem to hate and want to kill humans.
This isn’t a particularly faithful adaptation of Wyndham’s book but it’s still interesting and holds perceptive observations into the breakdown of society when something catastrophic happens and how fragile the bonds that hold us all together really are. But it also shows how altruistic humans are when such an event happens.
The ending of this adaptation feels a little bit too simplistic and pat but it does very little to ruin the rest of this beautiful film.
Fun fact- it’s this version that had gained the ultimate accolade- its quoted in a lyric of the song ‘Science Fiction, Double Feature’ in The Rocky Horror Show- ”And I got really hot when I saw Janette Scott/Fight a triffid that spits poison and kills…’
3/5 out of 5 stars
Vincent Price’s Dr Phibes avenges the death of his wife by bumping off the culprits with each murder having a biblical connection.
Very camp, very funny and very unsettling- this is one of Price’s best just like Witchfinder General and the Poe films he also made with Roger Corman.
Check out Phibes’ clockwork band- one of the eeriest things committed to celluloid.
Also check out the classic art deco decors and groovier surroundings that capture the early 70s so fantastically.
Caroline Munro appears but only as photos of Phibes’ tragic dead wife.
4.5 out of 5