I’ve made a new Prisoner cell Block H video.
Included are people going mad, a hanging, a religious cult AND MORE!
The video is here.
My previous video is here.
Subscribe to my Prisoner themed YouTube channel here.
Exactly 30 years ago today, something extraordinary happened. Let me elaborate. I grew up in York in the UK. My local TV station was Yorkshire Television who were the first UK regional station to transmit twenty four hours a day. Because of this during the night and early hours of the morning they would show some of the most eclectic fare imaginable. One night they might show Spawn of the Slithis, another they might show a Warhol movie, the night after it might be a series of rare Scorsese short films. In between whatever they showed they would transmit 70’s and 80’s Public Information Films and ads for sex lines.
It’s Monday 3rd Oct, 1988. I forget what I was recording on my VCR but it was what was after it that made my jaw hit the floor. I was suddenly watching a late 70’s/early 80’s drama depicting Australian women in denim serving time in a Melbourne prison. The programme was, of course, Prisoner Cell Block H, a programme that I had seen listed plenty of times but never thought of taping to investigate. For a fan of exploitation cinema and cult movies the discovery of this programme was the equivalent of hitting the jackpot. This was also my first taste of ‘Ozploitation’.
This first episode that I watched was (I later found out) episode number 125. This was a great point in the whole trajectory of Prisoner’s history to start watching the series. At this point Prisoner had just entered it’s ‘Imperial Phase’- characters had been clearly defined and established, there was a firm nucleus of these characters who the audience recognised and had grown to love. Hence there were viewer’s favourite prisoners (Bea, Lizzie, Dor and relative newcomer, Judy) and favourite ‘screws’ even if some of them weren’t ‘goodies’ (Vera ‘Vinegar Tits’ Bennett is far from a pleasant character but audiences loved her being vile and sour just as much as they did fellow officer Meg Morris being all ‘sweetness and light’). These characters were eagerly watched by viewers as they moved through different situations and encountered opposition from various characters who entered their orbit.
This was also a great episode to act as an introduction as it featured one of Prisoner’s greatest characters- Noeline Burke. Burke was the perfect combination of expert writing and amazing acting colliding with this incredible character being brought to life with real gusto by actress Jude Kuring.
I started to watch every episode after this. I had my fingers crossed that this first episode that I had recorded by mistake wasn’t some kind of fluke. I was relieved to find out that it wasn’t. Every episode was consistently brilliant. The characters were hugely likeable, the dialogue crackled with electricity and the storylines were by turns intelligent, perceptive, daring and sometimes downright outrageous. I was looking for sex, violence and gritty fare. I had found the motherlode in Prisoner Cell Block H.
Yorkshire TV’s history of showing Prisoner (as it was called in Australia) was very good. They were the first UK regional TV station to show the programme in the UK.
They had started showing it in 1984 when the programme was still being made and shown in Australia (it ran from 1979 until 1986 in Oz).
My friend who I had grown up with had actually told me about seeing the first episode when it was first shown and gleefully regaled the plotline to me involving the ‘baby that was buried alive and found by tracker dogs just in time’.
After watching Prisoner for several months on Yorkshire TV I suddenly had a brainwave- what if other regions had started showing Prisoner from different time-points. One region could have just started showing it from the very beginning whilst another might be up to a later point in the programme’s history. I had another TV aerial which allowed me to watch programmes on another regional station (Tyne Tees). I found out that they showed Prisoner on a Thursday as opposed to the Monday in Yorkshire. When I tuned in I was astounded to find out that they were showing episode 30 and so I had the luxury of almost starting from the beginning of the programme’s history.
In no time Prisoner was starting to gain popularity as seemingly everyone from students (Prisoner regularly featured in the NME end of year Reader’s Poll in the Best Programme category) to OAPs started to religiously tune in every week. There were estimates that weekly viewing figures for the programme in the UK ranged from anywhere between 3 to 10 million. When shown in America it had primetime viewing figures of 39 million.
But there were still those who didn’t get the programme and just saw it as cheap trash. They probably came to see Prisoner after hearing that it was another Aussie soap and so surmised that maybe it would be like Neighbours and Home and Away. Rumours of wobbly walls started around this time. Which is very strange as Prisoner was filmed in the headquarters for Channel 9, the company that made it in Australia. And for what it’s worth, I’ve watched Prisoner in it’s entirety several times. It may have been rushed in places (and these occasions were few and fair between) but Prisoner was shown twice a week in Oz- thats two hours of telly to be made and so the cast and crew never had the luxury of multiple takes and plenty of time to shoot these in.
Also, if you watch other soaps from this time period you will see similar techniques, imperfections and production practices at play. I’ve seen shaking sets and moving bannisters/staircases in Coronation Street before. But then maybe this is why Prisoner was criticised as sub-par or cheap in the early days of it being shown on ITV- it’s Australian and maybe this was pure snobbery on the parts of the minority of British critics and viewers who didn’t like it. The same criticisms would never have been levelled against home-grown fare.
To understand Prisoner and enjoy it is not just to recognise the conventions of the ‘Women in Prison’ sub-genre but also to understand ‘cult’ viewing in the first place. Prisoner is so sophisticated that it can fit into multiple categories with their own viewing demographics all at once- soap opera, drama, exploitation vehicle with heightened storylines and a pessimism/realism not seen on many other TV programmes at that time.
Another great thing about Yorkshire TV showing Prisoner before any other region was that they didn’t think to check the programmes content. When word spread that there were some scenes or storylines that were close to the bone and needed to be possibly cut, they had already been shown on Yorkshire and devoured by yours truly. Hangings, decapitations, brandings, shootings- they all featured and in many cases in graphic detail.
Even 30 years on Prisoner Cell Block H is still my favourite TV show. Do yourself a favour- if you’re a fan of all things exploitation, ‘cult’ and extreme watch Prisoner. You’ll be glad you did.
The DVDs of the series are as cheap as chips with all episodes being released.
My Prisoner clip YouTube channel is here.
Yer bloods worth bottlin’.
Every day in October I will be reviewing a different horror film.
Some of the criteria I’ve used for the choice of films are
– a film from each decade from the 1920s onwards
– films from a number of different countries
– a Friday the 13th film as within October this year the 13th falls on a Friday!!! (mind blown)
The rest of my choices were films that I had wanted to see for ages but hadn’t gotten around to or were films that I have seen before but was dying to revisit (three of the films have ratings already by myself. These are some of the films that will be revisited and be reviewed again to see if my opinion has changed).
When I had my list of films they were then fed into an online randomiser so that they could be mixed up. With my randomised list I made one change- I made sure that the film watched on the 13th of October was the Friday the 13th movie. But thats the only change.
Here are the films-
Day 1- The Nanny (1965)
Day 2- Battle Royale (2000)
Day 3- The Exorcist (1973)
Day 4- Piranha (1978)
Day 5- Dark Night of the Scarecrow (1981) and Tales From The Unexpected episode ‘Flypaper’ (1980)
Day 6- The Abominable Dr Phibes (1971)
Day 7- The Fog (1980)
Day 8- Eyes Without A Face (1960)
Day 9- Phantasm (1979)
Day 10- Nosferatu (1922)
Day 11- Blood Beach (1980)
Day 12- The Hills Have Eyes (1977)
Day 13- Friday the 13th Part 4- The Final Chapter (1984)
Day 14- M (1931)
Day 15- Freaks (1932)
Day 16- The Tingler (1959)
Day 17- Drive-in Massacre (1976)
Day 18- Kill Baby, Kill (1966)
Day 19- Invasion of the Bodysnatchers (1978)
Day 20- Ginger Snaps (2000)
Day 21- The Beast With Five Fingers (1946)
Day 22- The Incredible Melting Man (1977)
Day 23- Ringu (1998)
Day 24- Tombs of the Blind Dead (1972)
Day 25- Henry: Portrait of a Serial Killer (1986)
Day 26- Les Diaboliques (1955)
Day 27- The Sadist (1963)
Day 28- The Lift (1983)
Day 29- Prom Night (1980)
Day 30- It Follows (2014)
Day 31- Seytan (1974)
Please join me on this horrifying journey 🙂
Whilst most Christmas based media is sentimental bilge there are nuggets that are worth hunting out.
View Meathook Cinemas guide to Mondo Christmas. Brace yourself for festive horror, glam rock Christmas messages and LSD inspired Yuletide childrens movies. And much, much more…
As some of you may know I’m a huge Prisoner Cell Block H fan. I actually think its the best TV series ever made. If you’re into cult film, cult TV or video nasties/exploitation cinema then chances are you’ll love Prisoner.
I’ve just made a video documenting some of the most outrageous moments from the series.
All the juicy stuff is present and correct- drugs, lynchings, murders and brandings. Theres even a sequence that will have you shaking your head in disbelief.
The videos here. But beware- its not for the faint hearted!
I’ve just made a video/visual and audio love letter to the genius that is Halloween 3: Season of the Witch.
The videos HERE. Enjoy.
A man (called David Mann) is travelling to meet an appiontment but is stalked, driven insane (pun not intended) and almost killed by a driver in a huge battered old truck.
This movie is amazing. Firstly, it was directed by Steven Spielberg for TV which makes the fruits of his labour even more staggering. So much innovation, imagination and art was poured into this project whereas many directors of TV movies would have treated them as a low art form and a way of making an easy quick buck.
This is like Jaws on the road. Instead of a shark persuing the hapless prey theres a truck. The amount of ingenuity that Spielberg used to film in the sea years later he here uses when filming speeding vehicles on desert highways. The cinematography is flawless and could serve as a tourist film for California if the events depicted weren’t so frightening.
The way that I read the film was that the truck is a test to Mann’s manhood. Up until the encounter with the truck Mann hears on the radio a discussion regarding modern gender roles and how men in general are now emasculated and subserviant to women. One caller says that his trick when dealing with his wife is to ‘play meek’. There is also a phone call with Mann to his wife in which he apologises as the previous night they had been a party at which a man had been a bit too ‘hands on’ with her. Mann had done nothing and this had caused his wife to argue with him and question his masculinity. There is also a conversation with a garage owner. ‘You’re the boss!’ says the garage owner to whch Mann replies ‘Not in my house I’m not!’
The truck in this film is a test to this masculinity. The modern man (or Mann) who has had his baser instincts of being a hunter/gatherer eroded by the modern world is going to be pushed to the limit. Thus certain events happen during the film- the truck won’t let Mann pass when its travelling too slow. The one time he motions for Mann to pass it is to make him run into oncoming traffic in the other lane. There are also moments in the film where Mann thinks hes gotten rid of the truck only to find it hiding in wait further on in his journey. The truck driver wants to control, manipulate and wear Mann down. Will Mann play meek and accept this or fight back?
There is an amazing sequence in which Mann retires to a roadside cafe as a respite to the onslaught from the truck. When he comes back out from the bathroom hes just used he sees to his horror that the murderous truck is parked in front of the cafe. The driver must be in the cafeteria as Mann and so his paranoia goes off the scale! This sequence is amazing- are the other patrons really looking around at Mann or is he just imagining it? Can he eliminate the patrons and single out the truck driver who is trying to kill him? This is one of the tense, nervous and nerve wrecking sequences I’ve ever seen in a film.
The film even feels like a live action horror version of a Roadrunner cartoon during one scene. When the truck starts pushing Mann’s car into a level crossing which is closed and with a train travelling through it the sheer surreality of the whole situation can be seen. This scene was added to the TV movie to make it into a full length film to be released in cinemas in Europe.
The ending of the film involves Mann defeating his adversary but by sacrificing his own car. Mann jams his briefcase full of paperwork onto the cars accelerator so that it keeps on running. The truck crashes into the car but on doing so both run off the edge of a cliff. The dinosaur roar that is heard when the truck is falling and crashing into the rocks down below was later used by Spielberg in Jaws to accompany the death of the shark.
Spielberg seems to be implying that when man (Mann) strips away all of the trappings of modern life (symbolised by his car, his briefcase that is indicative of his job) then he possesses what man has always possessed- ingeuinity, intelligence and a strong survival instinct. No amount of watering down of these qualities by modern societal forces can erode this.
This film is amazing as are so many of Spielberg’s TV movies- and indeed his movies made for the cinema. This has been released on Blu ray thankfully. Now if only Steven would oversee the release of the brilliant Something Evil then I would be truly happy.
I’ve just created a video of my Top 10 Prisoner Cell Block H characters.
The videos here.
For those of you who don’t know I’m a huge Prisoner fan. I actually think its the best TV programme ever made.
Yes, this is Meathook Cinema but with Prisoner being Cult TV at its finest I have no problems with extolling its virtues.
Coming soon- a mammoth article on the programme and why its so vital to anyone with a taste for brilliant popular culture.
Now, I’ll have ten bucks on Fancy Nancy running in the 2.10 at Kiteton. I hope you’re not a piker…
Heard of Shudder? Its a bit like Netflix for lunatics with all of the content being horror. Not a rom-com in sight!
Its now launched in the UK and the choice of films is immense! Exclusive content includes Mattie Do’s Dearest Sister, which recently screened at the BFI London Film Festival, and French mini-series Beyond The Walls, which screened at this year’s Horror Channel FrightFest. Other exclusive titles include Sadako Vs Kayako, Rob Zombie’s 31, supernatural drama We Go On, Nathan Ambrosioni’s Therapy and Alex De La Iglesia’s Witching And Bitching.
There are also old classics to choose from. Shudders press release says that ‘In addition, SHUDDER hosts an expertly curated library of hard to find titles and genre gems including Donald Cammell’s WHITE OF THE EYE and Jorg Buttgereit’s NEKROMANTIK which appear ONLY ON SHUDDER alongside stone cold classics from the HAMMER vaults and, for the first time on a streaming service and exclusive to SHUDDER, Clive Barker’s iconic HELLRAISER & HELLRAISER 2.’
SHUDDER’s catalogue is available on Shudder’s website, mobile apps for iOS and Android users, Chromecast, the Roku platform and Apple TV. Theres a free one week-trial or £4.99 monthly/ £49.99 yearly membership, and more platforms being added in the months after launch.
Join up here- www.shudder.co.uk