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’.
I’ve just reviewed Snapshot that was cheekily renamed ‘The Day After Halloween’ to capitalise on the success of John Carpenter’s masterpiece.
I remember the first time I saw this was on a copy of the soundtrack that I saw whilst browsing for soundtracks in the mid 90’s when I had moved to London to study film. ‘Well, I’ll be damned!’ I thought as I saw the title of the film and the same font used as for the original film. I was also amazed to see Sigrid Thornton on the album’s sleeve art. I had known and admired Ms Thornton’s work in the TV series Prisoner Cell Block H.
Now rewind a few years. It’s the late 80’s. I’m in Leeds after taking the bus from York to visit a brilliant film memorabilia shop called Movie Boulevard.
It’s here that I buy a quad poster for the film Halloween 2. I wondered why it said ‘All New’ on it.
When I posted my review of Snapshot in the Meathook Cinema Facebook group yesterday one of my regular contributors Phillip Lopez Jimenez said
”I remember when that came out, the ads eventually had a banner that said Not a Sequel to Halloween but it wasn’t in theaters for very long…”
So is this why the posters for Halloween 2 had the words ‘All New’ written on them? Had this small (but perfectly formed) film from Australia which had tried to market itself as a sequel to Halloween perplexed the makers of the real sequel to the film to such an extent that they had to tell audiences that this was the real deal, the real sequel? It would appear so.
This ‘All New’ addendum was added to both the American and British posters for the film (the British poster is earlier in this article)-
This also extended to the British and American/Canadian newspaper ads for the film-
A mystery solved. Take a bow, Phillip.
I first learnt of this film as it was called The Day After Halloween and marketed as a sequel to John Carpenter’s classic. It isn’t. But it’s still a really interesting movie.
Angela (played by Prisoner Cell Block H’s brilliant Sigrid Thornton) is persuaded to ditch her low paid hairdressing job and enter the world of modelling. Nude modelling.
This could have been a generic ‘nice girl gets led astray’ film but it isn’t. Theres too many genuinely unexpected twists and turns for it to be predictable. An example- Angela is stalked throughout the film by her creepy ex-boyfriend- who just so happens to drive a pink ice-cream van!
There’s an air of unease and menace that runs through the whole film that gives it a truly unsettling feel.
Watch out for the ending- it’s very unsettling indeed.
4 out of 5
This is such a great documentary about Ozploitation films (exploitation films made in Australia).
All the great films and sub-genres are here- the bawdy Ocker comedies, the slasher movies, the films for petrolheads.
The main players are all interviewed and show that making these insane films was just as insane in real life.
I’m so glad that so much attention was devoted to Brian Trenchard-Smith. I think Turkey Shoot is the greatest Aussie film ever (take that Picnic at Hanging Rock).
But it’s not just Aussies who are interviewed. Jamie Lee Curtis and others are interviewed as they starred in prominent Ozploitation movies. Quentin Tarantino features as he’s a massive fan of the genre.
This doc is great for beginners and the already initiated alike. Theres so many films named that I hadn’t heard of that I’ll now be hunting down. Job done.
4.5 out of 5
A gorgeous slice of Ozploitation that is extremely well made, acted and written. A young man named Patrick is in a coma after killing his parents three years earlier. A new nurse named Kathie has been assigned to tend to him and they strike up a relationship through a typewriter that Patrick can telekinetically control and through the only bodily function that Patrick can control- his ability to spit (one for yes, two for no). Strange things start to happen in Kathie’s life regarding the husband shes recently separated from and the doctor shes just started seeing. Could Patrick be responsible?
I love a movie in which the lead character is in a coma but strangely gives a great performance in that state. In fact all of the cast are great and if you’re a fan of Australian TV then you should be able to recognise most of the actors. I recognised the actors who played Captain Barton the Salvo Army man, Evelyn Randell and Irene Zervos from Prisoner Cell Block H.
The setting of the sinister hospital wouldn’t be out of place in an early Cronenberg film. The building seems to constitute another character in this film and a very foreboding one.
This is a favourite film of Quentin Tarantino, fact fans.
4.5 out of 5
A young schoolteacher trues to escape small town Australia and reach Sydney…but gets waylayed in the darkest possible way.
This is an amazing examination of small town madness, the unspoken madness of such a life and the brutality and destruction undertaken by men.
Its also an amazing portrayal of cabin fever being caused by nothing but huge open spaces.
The film features another insane petformamce by Donald Pleasance who is in top form. If this doesn’t act of enough of a recommendation then I don’t know what will.
The kangaroo hunting scenes are strangely beautiful just like the rest of the film. The outback has rarely looked so gorgeous on film. However, what goes on there means that this is far from a 70s tourist board film.
The rediscovery of this film and its subsequent restoration restores my faith in humanity. This film is too important and brilliant to be left unseen and decaying in a basement somewhere. This movie would make a great double bill with Nic Roeg’s Walkabout.