Blu-Ray Review: Blacula – The Complete Collection

I‘ve got too many review screeners piled up for October and November as well as several work and home life barriers to put together any special seasonal Halloween features, but I got sent one Blu-Ray release to review which fits into the spooky milieu at least, Blacula – The Complete Collection.

The blaxploitation genre came about at the turn of the 1970’s when Hollywood producers discovered there was a lot of money to be made out of films featuring, created by and/or aimed at African Americans. At the the tail end of the 60’s, the Civil Rights Movement had given African Americans equality in America (legally speaking – unfortunately racism continues to rear its ugly head so it’s difficult to claim full equality, even now) and they were riding high on this fact. People liked to see African American heroes kicking ass and giving it to “the man” and the Hollywood bigwigs saw this and jumped on it.

The first and in fact most blaxploitation films tended towards the action and thriller genres, set on “the streets” with bad ass heroes taking down drug dealers, pimps and corrupt cops. Sweet Sweetback’s Baadasssss Song, Shaft and Superfly were the early groundbreakers of this style, but soon the producers branched out to fuse the hip blaxploitation template with other popular film genres. Thus came Blacula. The title makes it clear what intention the filmmakers had: with Hammer making Dracula making popular again back in 1966, why not use this to create a blaxploitation/horror hybrid?

The film was a reasonable success on its release in 1972, so much so that it spawned a sequel, Scream Blacula Scream and Eureka are releasing both films on one Blu-Ray in the UK, just before Halloween. I ventured into a dark room to see how well they hold up today.

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DVD Review: Two Days, One Night

Director: Jean-Pierre Dardenne, Luc Dardenne
Writers: Jean-Pierre Dardenne, Luc Dardenne
Starring: Marion Cotillard, Fabrizio Rongione, Pili Groyne
Producers: Denis Freyd, Jean-Pierre Dardenne, Luc Dardenne
Country: Belgium
Running Time: 99 min
Year: 2014
BBFC Certificate: 15

(maybe add half a star if you’re not familiar with the Dardenne brothers’ previous work)

I had the pleasure to review The Dardennes Collection back in 2012, which consisted of 6 of the brothers’ most famous films, including their latest from that year, The Kid With the Bike. I hadn’t seen any of their work previously so I received a crash course in their brand of no frills yet perfectly balanced filmmaking and fell in love with it. I may not have given every title top marks, but they were of such a high standard I found myself being quite harsh on the slightly less mind-blowing films in the set even though I adored the collection as a whole. So understandably my expectations were very high for Two Days, One Night, the Dardennes brothers’ latest film, especially since it’s been picking up universal praise amongst critics, many of whom are calling it their best work.

Like most of their other films, the story here is quite simple, in fact this could probably be their most sparse narrative. Basically, Sandra (Marion Cotillard), a young mother with a history of depression, is told that her work colleagues have opted to take a €1,000 bonus rather than keep her on as an employee. Feeling the staff had been pressured into making this decision, Sandra manages to talk her boss into running another vote and she has just the weekend to convince her colleagues one by one that they should give up the money to let her keep her job.

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Blu-Ray Review: Le jour se lève

Director: Marcel Carné
Screenplay: Jacques Viot & Jacques Prévert
Starring: Jean Gabin, Jacqueline Laurent, Arletty, Jules Berry
Producer: Jean-Pierre Frogerais
Country: France
Running Time: 91 min
Year: 1939
BBFC Certificate: PG

The best thing about being sent screeners of old classics to review is that it can open your eyes to films which you’ve not heard of as well as those that have passed you by. My most recent discovery, Le jour se lève (a.k.a. Daybreak), falls into the latter and appears to be fairly unknown or at least unseen by critics and film buffs in general, despite its director Marcel Carné enjoying decades of success with Les Enfants du paradis. Supposedly Le jour se lève was very well received on release and has been considered the equal to, if not better than, Renoir’s La Règle du jeu which was released in the same year. You only have to look at Sight and Sound’s highly regarded Top Ten Greatest Films of All Time Poll, run every decade, to see how their paths have since veered. In the first poll in 1952, Le jour se lève was placed at joint 7th, higher than La Règle du jeu at joint 10th. As the decades went on though, Renoir’s classic jumped to number 3 and has never left the top 4 since. Carné’s film, on the other hand, dropped out straight away in the 60’s and has never returned. It wasn’t even in the top 50 of the 2012 poll. Part of the reason may be because the film was almost lost in the late 1940’s, when RKO acquired the rights to the film so that they could remake it and sought to buy up and destroy every copy available. It re-appeared in the 50’s though. The critics of Cahiers du cinéma, who would come to make up the French New Wave movement, are known to have dismissed Carné, claiming his writing collaborator Jacques Prévert was the real genius behind his work, so perhaps they were to blame. Whatever the reason, Le jour se lève has become a distant memory in cinema’s history books.
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Blu-Ray Review: Das Cabinet Des Dr. Caligari

Director: Robert Wiene
Screenplay: Carl Mayer, Hans Janowitz
Starring: Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover
Producers: Erich Pommer, Rudolf Meinert (both uncredited)
Country: Germany
Running Time: 77 min
Year: 1920
BBFC Certificate: U

As with a number of the classic titles I’ve reviewed here over the last couple of years, Das Cabinet Des Dr. Caligari (or The Cabinet of Dr. Caligari if you couldn’t translate it yourself) is one of the major ‘canon’ titles which has been on my ‘to watch’ list for far too long. Once again, Eureka’s wonderful Masters of Cinema Series has come to the rescue though and released an immaculately restored Blu-Ray (and DVD) of the film, complete with an abundance of special features so that I can finally sink my teeth into this dark and twisted classic of silent cinema.

The film opens with a young man, Francis (Friedrich Feher), telling an older gentleman of the horrific events he endured with his fiancée Jane (Lil Dagover) over the past few months. Francis and his good friend Alan (Hans Heinrich von Twardowski) both fell for Jane on meeting her, but both stated that the other shall be satisfied with the choice she would ultimately make. However, that night they went to the local carnival and entered the tent of Dr. Caligari (Werner Krauss) and his somnambulist (a sort of sleep walker) Cesare (Conrad Veidt). The mysterious zombified figure awakened to tell Alan that he would die that night and lo and behold he did. Francis vowed to find the killer, especially seeing as the local police force wasn’t effectively dealing with the situation. Of course the chief suspect was Cesare, but Francis struggled to prove his guilt and various events along the way turned the story in surprising directions, bringing the power and identity of the mysterious Dr. Caligari to the fore. Even when we return to the ‘present day’ there are more twists in store for the audience though and there are still debates as to exactly who played what part in this mystery.

This narrative isn’t always handled brilliantly, rarely making perfect sense and feeling quite muddy at times, but after the whole thing plays out you realise that could well be the idea. Featuring perhaps the first ‘unreliable narrator’, the majority of the film plays out in the mind of the possibly deluded Francis who may or not be being manipulated by the evil (or possibly not evil) Dr. Caligari so a lack of clarity works very effectively in a subtextual sense. The film’s fairly unusual and messy development (inexperienced writers with an experimental idea, the first choice of director – Fritz Lang – being unavailable, and some changes imposed by the producers etc.) may suggest a happy accident though. Whatever the case, the film is certainly more interesting than most from the era due to its structure and twists and these have led to almost a century of discussion among critics and theorists. The film plays havoc with the auteur theory though due to the never fully resolved debate of authorship over the film. The writers Carl Mayer and Hans Janowitz, designer Hermann Warm, producer Erich Pommer and director Robert Wiene have all claimed or been given credit for the film’s success.

I don’t want to get bogged down by that too much though as, in my mind, a review should be more focussed on how well a film works rather than who was responsible for it doing so.

And Das Cabinet Des Dr. Caligari still works extremely well. I think the decades of hype and expectation I had coming into the film perhaps prevented me from giving the film top marks, but the reasons for why it has remained so well respected for so long are blatantly clear. Front and foremost is the film’s extreme expressionistic style. Caligari is cited as being hugely influential on film noir, horror movies and more, but, as a few critics and theorists have pointed out, very few, if any, films have actually copied its daring visual-art-infused approach. Rather than simply playing with lighting and camera angles to make dark and unsettling visuals, the sets are crafted in bizarre angles and shapes, and shadows and light patches are literally painted on to the walls. Even the make-up and costumes are exaggerated by strong blacks and whites. This all creates a creepily disorientating and surreal atmosphere, acting as a construct of Francis’ mental state. The closest modern filmmaker I can think of who adopts a vaguely similar style is Tim Burton, but even he doesn’t push the boat out as far as Weine (or whoever was in charge) did. I imagine he’s seen the film a few times though.

What’s interesting about the style is that if you take individual elements of the sets and production design they look rather crude and simplistic, but when presented as a whole within the construct of the film they help create a hugely effective and stunning vision. In fact, I found several shots so bizarrely beautiful I wanted to freeze the frames and hang them on my wall.

Perfectly complementing the bold style are two big but perfectly measured performances from Werner Krauss and Conrad Veidt, playing the chief ‘villains’. Krauss is the archetypal evil scientist character for the most part as Caligari, coming across as genuinely unpleasant and fiendish, before presenting a wholly different side after a revelation in the film’s later scenes. Veidt grabs your attention from the moment Caligari opens his cabinet (or rather coffin) and Cesare’s eyes slowly flicker open. He’s a great presence in the film, especially during his still quite shocking abduction of Jane. Like Veidt, he also gets a chance to subvert his character in the final minutes.

Although it might not feel as perfectly formed and fully gratifying as some of the other silent greats like Sunrise or The Passion of Joan of Arc, Das Cabinet Des Dr. Caligari remains a daring and hugely influential (even if was never fully copied) visionary masterpiece. It was possibly the first (successful) true art house feature, pushing the boundaries of what cinema could mean and how it could be presented. Don’t let that put off those who favour more mainstream fare though, as this is also unsettling and pacey enough to keep modern horror fans thoroughly entertained despite the lack of gore or action. So do yourself a favour and tick this off your ‘to watch’ list like I did. You’ll probably want to see it again too, which is more than can be said for a number of the textbook ‘required viewing’ titles.

Das Cabinet Des Dr. Caligari is out on 29th September in the UK on dual format Blu-Ray & DVD, released by Eureka as part of their Masters of Cinema Series. I watched the Blu-Ray version and I must say, it looked spectacular. There’s a caption at the beginning stating that the first reel was originally lost so was reconstructed from various sources, but even this portion of the film still looks pretty damn good for its age. The rest of the film is astonishing though. The picture is so clear and detailed it practically feels as though you’re there on set. Colour tinting is kept as it is believed to have been intended and works effectively to my eye. The score comes through very nicely too, I watched the 5.1 mix, but you can also listen in stereo.

On top of a magnificent transfer, you get a whole host of special features too. One featurette is on the restoration process itself, which lets you fully appreciate the work that went into it. The end of this places the new restoration side by side with a previous one and an original print to show the difference, which is remarkable.

Also included is a new and exclusive audio commentary by historian David Kalat, which makes for a fascinating and detailed listen, Caligari: The Birth of Horror in the First World War, a new 52-minute documentary on the cultural and historical context of the film, You Must Become Caligari, a roughly made but informative and mildly quirky video essay by David Cairns, and a reissue trailer.

Plus, being a Masters of Cinema release, you get a hefty booklet which includes a collection of stills, an essay from Lotte H. Eisner, the original Variety review of the film and restoration notes and credits.

Blu-Ray Review: The Gang’s All Here

Director: Busby Berkeley
Screenplay: Walter Bullock
Starring: Alice Faye, Carmen Miranda, Phil Baker, James Ellison, Sheila Ryan, Charlotte Greenwood, Edward Everett Horton, Tony De Marco
Producer: William LeBaron
Country: USA
Running Time: 103 min
Year: 1943
BBFC Certificate: U

A lot of the gaps in my classic movie watching can be found in the musical genre. I’m a huge fan of music and a huge fan of films, but putting the two together doesn’t always gel for me. I love the more subversive, quirky examples of the genre (Frank Oz’s Little Shop of Horrors is a particular favourite), but I often struggle to get into the traditional entries. I guess a lot of it is down to the fact that the music isn’t always to my tastes, although I find myself drawn to show tunes from time to time as there were always plenty of them playing at home in my youth. The general campy ridiculousness of suddenly bursting into song mid scene was something that used to rub me up the wrong way though, especially as a teenager.

In recent years I’ve grown to appreciate the excesses of Hollywood in the golden ages though and I’d like to think my tastes have widened considerably. I finally popped two musical cherries early this year in fact, with my first Fred Astaire and Ginger Rogers film, Top Hat, which I loved, and my first Busby Berkeley film, 42nd Street, which I enjoyed more than I thought I would too. These successful steps forward helped sway my decision to take a screener of one of Berkeley’s later films The Gang’s All Here, released as part of Eureka’s superlative Masters of Cinema series, and below are my thoughts on it.

I’m not sure I need a paragraph to sum up the plot of The Gang’s All Here. Somewhere in amongst 103 minutes of singing and dancing, army Sergeant Andy Mason (James Ellison), who is assumed to be marrying the attractive daughter (Sheila Ryan) of family friends the Potters, falls for showgirl Edie Allen (Alice Faye). Soon after, he is posted in the Pacific though. He wins a medal for his efforts before being sent back home and in the meantime, timed with his return, his father Andrew Mason Sr. (Eugene Pallette) talks Edie’s boss into rehearsing and performing their latest show at the Potters’. Of course this brings both of Andy’s sweethearts together under one roof – whatever shall he do?

He doesn’t have to do much to be honest, as Berkeley’s film is not concerned with plot so threads are barely tied up with a simple sentence or two. Flimsy doesn’t even begin to describe the narrative. It’s proof that it’s not just today’s blockbusters that are throwaway efforts primarily concerned with spectacle. In fact the scripts of today’s studio pictures seem like Shakespeare compared to this (in terms of plot at least – the dialogue is occasionally quite sharp).

But does this matter?

Well, no to be honest. So long as you realise from the offset that the film is basically just a string of dance numbers, you’re in for a good time. First and foremost are the dance sequences themselves and presumably that’s the only reason you’d pick up a Busby Berkeley movie anyway. There are a huge amount of them here, although they aren’t all quite as extravagant as you’d expect. Many of them are actually fairly subdued by the director’s standards, often busy and lively, but not always too elaborate, with a number of solo and duo performances thrown in too. The opening number, ‘Brazil’ (a song which I recognised from Terry Gilliam’s film of the same name), the famous ‘Lady in the Tutti Frutti Hat’ and the film’s finale are all prime examples of typical Berkeley excess though. ‘Tutti Frutti Hat’ in particular is full of crazy props (giant bananas), dozens of dancers creating shapes viewed overhead with the camera swooping all over the place on a crane. It’s utterly bonkers, but that’s the beauty of it.

Speaking of beauty, this was Berkeley’s first full colour film and by God does he make the most of it. It may be garish and quite tacky by today’s standards, but there’s so much bold and brazen use of colour that it’s a tremendous sight to behold and pops off the screen in this HD restoration.

The film has quite an infectious energy too. In between the dance numbers it’s largely farcical comedy with quick fire lines coming from the game cast. These lines can be hit and miss and a couple of the performers aren’t all that charismatic, but the lanky Charlotte Greenwood is always fun to watch. Also, Carmen Miranda is mildly offensive but lively enough as the Brazilian Dorita, the chief comic relief.

It is pure fluff of the highest order, taking flimsy to another level, but has plenty of music and dance to keep you entertained. There are only two ludicrously extravagant classic Berkeley numbers, but the less gaudy moments are still pretty showy by everyone else’s standards. It’s also one of the most colourful films I’ve ever seen so is a visual feast even if there’s very little beneath it’s glitzy veneer.

The Gang’s All Here is out on 22nd September in the UK on Blu-Ray, released by Eureka as part of their Masters of Cinema Series. This is proof why old classics are as well served by the Blu-Ray format as glossy modern releases, because this looks mightily good in High Definition. You need the rich palette available on Blu to capture the ludicrously colourful visuals on display here. The transfer is great too with only the slightest sign of age in one or two moments. I noticed a couple of slight grain issues in some of the most colourful sequences, but they were very minor glitches in an otherwise beautiful transfer. The soundtrack comes through nicely too which is especially important for a musical of course.

There are a nice handful of extras too. There’s a feature commentary with critics Glenn Kenny and Farran Smith Nehme alongside film historian Ed Hulse. There’s a 20 minute documentary, ‘Busby Berkeley: A Journey with a Star’, a deleted scene and the customary trailer. Plus of course you get the usual Masters of Cinema booklet, which are always worthwhile additions to the package.


DVD Review: Dirty Mary Crazy Larry

Director: John Hough
Screenplay: Antonio Santean, Leigh Chapman
Based on a Novel by: Richard Unekis
Starring: Peter Fonda, Susan George, Adam Roarke, Vic Morrow
Producer: Norman T. Herman
Country: USA
Running Time: 93 min
Year: 1974
BBFC Certificate: 15

I used to be quite into cars when I was a youngster. I wasn’t a full on petrol head interested in engines and things, but I used to collect models and enjoyed car racing of any variety and absolutely loved car chase movies. The Smokey and the Bandit and Cannonball Run films were some of my favourites as a pre-teen and as I got more into film as I grew older I discovered and adored the classic chases from Bullitt and The French Connection. Over the years my interest in cars and racing has withered away though. You’ve only got to look at the various models I’ve owned over the years to realise I’m not bothered about flash motors any more. I haven’t lost my love for car chase movies though.

It’s not an obsession I talk about much in my reviews, like I do my martial arts and action love. This is largely because they don’t really make car chase movies any more. A few action films over the last decade or so have featured some great chases, although other than The Raid 2, I can’t remember any particularly notable ones since Matt Damon’s stint in the Bourne films. These aren’t even true car chase movies though. The Bourne films are close because they are one long chase sequence in a way. I’m talking about purely road set movies which live or die by their driving sequences though. These became popular in the 70’s with counter culture films like the original Vanishing Point, the stripped down Gone in 60 Seconds and my all time favourite The Driver, before being turned into goofier fare with the two Burt Reynolds series I mentioned earlier.

In 1974, while the genre was in its prime, 20th Century Fox decided to capitalise on it by taking one of the most iconic road movie stars (Peter Fonda) and stick him in the odd couple car chase caper, Dirty Mary Crazy Larry. The film has a bit of a cult status, but it’s largely been forgotten over the years. Luckily for chase hungry folk like myself, Odyssey DVD decided to include it in the opening lineup of their re-emergence in the UK and I got hold of a screener to give my thoughts.

Larry (Peter Fonda) and his friend/mechanic Deke (Adam Rourke) pull off a supermarket robbery to fund their dream of entering the NASCAR championships. It’s all going to plan until Larry jumps into his getaway car and finds last night’s one night stand, Mary (Susan George), sat in the passenger’s seat. Refusing to budge, the fugitives are forced to add her to their criminal lineup and the three of them race out of town to evade the police. Meanwhile, Sheriff Everett Franklin (Vic Morrow) is put in charge of chasing them down and he’s determined to do so after his superior seems keen on them failing so they can use the incident as an excuse to buy new police cars.

There’s not a lot else to the story of Dirty Mary Crazy Larry and that’s just how I like it. In fact, the few moments when the film flounders are when they try to inject too much of a backstory to its characters. This only really happens quite late on in the film too, when it feels too far down the line to be important anymore. A bleak ending which pops out of nowhere, added presumably to give some Easy Rider/Vanishing Point message/mystique, also feels out of place and unnecessary.

But we’re not here to talk about the film’s narrative or depth though are we. Like me, I imagine you’re interested in this film for the car chases. There aren’t a huge number of actual ‘chase’ scenes and these don’t feature until about 40 minutes in, which is a shame. However, spread throughout the film are some brief but wild stunts involving a number of close (and too close) shaves as well as a nice jump thrown in for good measure. When the chases do kick in during the second half, they’re great too. The climax involving a helicopter tailing the trio’s car is particularly impressive and must go down as one of the most daring and exciting stunt scenes I’ve seen in an American movie. The film is full of cool and inventive camera angles too, which is one of the things I love about car chases in the movies. It’s easier these days with GoPro’s and the like, but I’m always amazed by how they pulled off half the things they did back in the 70’s.

As for the film’s ‘mismatched duo’ aspects, it’s a bit of a mixed bag. Fonda is great, oozing cool and delivering some wonderfully insulting comments. A particular favourite is “try another stunt like that and I’m going to braid your tits”. I wasn’t always a huge fan of Susan George though. She’s quite annoying, especially in the first half. I realise she’s supposed to be, but I found her delivery a bit stilted and I didn’t find her as funny as I think she was supposed to be. The banter between the two of them is entertaining enough though and keeps the film moving along when the motors aren’t firing up.

So although it did satisfy my lust for burning rubber for the most part and features a few great set-pieces, it’s not quite as action packed as I’d hoped and other aspects of the film prevent it from being one of the best entries in the car chase genre. It’s worth checking out though if you’re a fan of 70’s road movies and makes for a fun hour and a half.

Dirty Mary Crazy Larry is out on DVD in the UK on 15th September, released by Odyssey DVD. The screener I was sent didn’t even have a menu so I can’t comment on features and things, but the picture and sound quality were decent.


Blu-Ray Review: The Four Feathers

Director: Zoltan Korda
Screenplay: R.C. Sherriff
Based on a Novel by: A.E.W. Mason
Starring: John Clements, Ralph Richardson, C. Aubrey Smith, June Duprez
Producer: Alexander Korda
Country: UK
Running Time: 115 min
Year: 1939
BBFC Certificate: U

War movies are a genre of film that I often think I don’t like, but when I actually pause for thought about it I realise I like quite a lot of them. Apocalypse Now is one of my all time favourite films, I always had a soft spot for Platoon too and Saving Private Ryan for instance, whilst slightly flawed at times, contains a couple of the most incredible set-pieces of all time. I think it’s more that the idea of war movies kind of bothers me. I’m quite a peaceful sort that avoids conflict whenever possible and the idea of glamorising war always bothers me. So the war movies that I generally don’t like are big bombastic ones that are just celebrating the heroes and ignoring the bigger picture. For that reason I often pass on watching a lot of the old war movies, particularly those made during times of conflict, because all that propaganda and bravado rubs me up the wrong way.

So when I saw The Four Feathers pop up on a press release I wasn’t quite sure whether to go for it. My dislike for the dated, simplistic values of dying for one’s country etc. was saying no, but the film’s classic pedigree and a recently blossoming fondness for old fashioned melodramatic filmmaking said yes. The latter won over of course, so I decided to take the film on.

For those that haven’t seen any of the iterations of A.E.W. Mason’s novel The Four Feathers (there are six listed on IMDB although three are from pre-1930’s and are probably little seen these days if available at all), it tells the story of Harry Faversham (John Clements). Born to a family of famous military men stretching back for centuries, Harry’s father forces him into the services from a youngster. However, when he gets engaged to Ethne Burroughs (June Duprez) he finally says enough is enough and hands in his resignation, just before he is due to ship out to Sudan to take on the Dervishes (as they are called in the film – according to Wikipedia these are people treading a Sufi Muslim ascetic path).

His comrades in arms aren’t happy about this and send him three white feathers, a symbol of cowardice, and the shame he can see in his fiancée’s eyes cause him to ask her to give him the important fourth feather. The marriage is called off and Harry shunned by all but the kindly Dr Sutton (Frederick Culley). However, Harry eventually confronts his fear and cowardice and decides to take extreme action. He poses as a mute Sengali tribesman, even getting literally branded as one. These are slaves to the Dervishes so he manages to get behind enemy lines with the intention of helping his friends in the Sudan. So begins the adventure which sees Harry go to extreme lengths to keep his friends alive and prove his worth as a soldier and a man.

The core values being put forward of there being great shame and pure cowardice in not wanting to fight and die for your country did bother me a little and the first half an hour in particular when this is being rammed down your throat hasn’t aged well. However, once Harry begins his mission of redemption, the film becomes an exciting, well paced action adventure.

This being an Alexander Korda production, directed by his brother Zoltan Korda, it’s a feast for the eyes. The costumes and set design are lavish and colourful when in Britain and seem impressively authentic when overseas. No expense is spared on using extras either and, when matched with some great location work, make for some wonderful sweeping wide shots, especially during the battle scenes. Speaking of which, these are generally pretty impressive. They’re not as realistic or gory as in modern war movies, but they’re rather violent for the time and very well mounted.

The more stagey scenes in the UK aren’t quite as mind-blowing, but they’re effective enough. I actually got a bit emotional when Harry’s friend John (Ralph Richardson) finally finds out who saved his life at the end. The performances can be quite ‘of their time’ with John’s violent bout of sun stroke proving almost comically hammy. He pulls off a reasonable blind act later on though as the exposure claims John’s eyesight. John Clements is a little bland in the lead role, but you do care for his character and want him to succeed.

So although dated, particularly in the first half hour, The Four Feathers becomes a grand old tale of adventure and heroism as it moves on, which makes for a rousingly entertaining watch.

The Four Feathers is out in on Blu-Ray on 1st September, released by Network. The film looks great in HD, with a stellar job done on restoration. There is very little damage to the print, the natural grain has been retained and the colours come through nicely, if slightly muted, but that’s probably how it should look as it was from the early days of colour film. The audio restoration is strong too, with Miklós Rózsa’s score coming through nicely.

For special features, as well as the usual trailer and image gallery, Network has provided a ‘Day at Denham’ newsreel film and an archive interview with Ralph Richardson.

Blu-Ray Review: Akira Kurosawa Samurai Collection

Akira Kurosawa is one of the few directors that has never disappointed me. I must admit there are still far too many titles from his filmography that I’ve not seen, but those that I have always manage to hit my sweet spot. So when I heard that the BFI were releasing a collection of five of Kurosawa’s most popular films on Blu-Ray I practically jumped for joy. I’d already seen four of the five titles and I actually own the DVD version of the set already, but the chance to see these wonderfully cinematic masterpieces in high definition just couldn’t be missed.

Included in the Akira Kurosawa Samurai Collection is Seven Samurai, Throne of Blood, The Hidden Fortress, Yojimbo and Sanjuro. Here are my thoughts on the films themselves (with links to those I’ve reviewed previously):

Seven Samurai

Director: Akira Kurosawa
Screenplay: Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
Starring: Toshirô Mifune, Takashi Shimura, Keiko Tsushima
Country: Japan
Running Time: 207 min
Year: 1954

My review of Seven Samurai can be found here.

Throne of Blood

Director: Akira Kurosawa
Screenplay: Hideo Oguni, Shinobu Hashimoto, Ryûzô Kikushima, Akira Kurosawa
Starring: Toshirô Mifune, Minoru Chiaki, Isuzu Yamada
Country: Japan
Running Time: 109 min
Year: 1957

I first discovered the joys of Akira Kurosawa back when I was a precocious young teen. At around 13 or 14 I was getting interested in ‘serious’ cinema through top 100 lists and five star reviews in Empire magazine. I’d buy or record from TV all the Hollywood classics like Gone With the Wind and Casablanca whenever I came across them. One of the four TV channels at the time had a mini ‘season’ of Kurosawa’s films, so, hearing great things about the director, I recorded a few of them and these VHS tapes opened my eyes to world cinema, Japanese in particular. I’m not sure I fully appreciated the films as I was only just dipping my toes into watching films with subtitles, but the three I saw, Rashomon, Yojimbo and this, Throne of Blood, all impressed me nonetheless with their tight storytelling and visceral action. Yojimbo is the only film from the three I’ve revisited (more on that later), so it was with great pleasure that I finally got around to re-watching Throne of Blood, especially in glorious high definition as opposed to the hazy VHS copy I’d taped off the telly.

Where three of the films in this set are famous for heavily and clearly influencing specific classic American films (or Italian in one case), Throne of Blood is interesting in that it is an adaptation of a piece of Western literature, Shakespeare’s Macbeth. I had read the infamous play in school recently before that first viewing of Kurosawa’s film, so I found it particularly interesting to watch and it has stayed more vivid in my memory for probably that reason. Kurosawa relocates the action to feudal Japan and of course, due to language differences, loses the Bard’s prose. However, it is actually a rather faithful adaptation in terms of story.

General Washizu (Toshirô Mifune) is the Macbeth character, who comes across a witch that tells his fortune. She says, amongst other things, that he will become Lord of Cobweb Castle and that the son of his friend and fellow General Miki (Minoru Chiaki) will take over after him. Once elements of her prophecy become reality, Washizu, encouraged by his ambitious wife Lady Asaji (Isuzu Yamada), plots to make sure that his end will be fulfilled but Miki’s son’s won’t.

This is a hugely atmospheric film, shunning realism for eerie horror and symbolism. Indeed, although the story is based on a Shakespeare play, Kurosawa used Noh theatre to inspire the presentation. This gives the film a feel of a Japanese folk tale as much as a faithful adaptation of a piece of classic British theatre.

The atmosphere is drawn through Kurosawa’s usual mastery of framing as well as a healthy dose of his love of using the natural elements. Fog, mist and rain are used to great effect to shroud the film in mystery, dread and fear. Because the story is familiar and it opens with a prophecy of doom (the witch says that Washizu’s lordship won’t last long), the audience knows things aren’t likely to end well, so there’s a relentless shadow over the film which Kurosawa embraces at every turn amongst the treachery and greed of the lead characters.

Washizu begins to recognise the inevitability of his demise towards the end, which leads to one of the most powerful finales in cinema history. (*Spoiler for the rest of the paragraph – although it’s very famous) The character gets his comeuppance with a hail of arrows turning him and the walls around him into a pin cushion. Supposedly most of these (obviously not the one through his neck) were actually real arrows fired at and around Mifune (he had special armour on his body and skilled archers were used). This realism, the powerhouse performance and the way Kurosawa shoots the scene, visually trapping the character in the frame, create a brutal and exhilarating climax which is surely one of the most memorable movie deaths in history.

The only very minor issue I had with the film was that a couple of scenes where characters get lost in the woods or fog are drawn out to an almost comedic length. This is a tiny flaw in an otherwise masterful and tightly woven film though, which is one of, if not, the best Shakespeare adaptation I’ve ever seen.

The Hidden Fortress

Director: Akira Kurosawa
Screenplay: Ryûzô Kikushima, Hideo Oguni, Shinobu Hashimoto, Akira Kurosawa
Starring: Toshirô Mifune, Misa Uehara, Minoru Chiaki
Country: Japan
Running Time: 139 min
Year: 1958

This is the only film in the set I hadn’t seen before, so I was particularly excited about watching it. The big draw of this to me and to many others I imagine, is that it’s cited as being a big influence on the first Star Wars film (A New Hope if you want to get pedantic). The BFI even went as far as to get George Lucas himself to provide an interview on their release of the film. However, as he points out, Star Wars isn’t a remake of The Hidden Fortress like A Fistful of Dollars or The Magnificent Seven are to Yojimbo or Seven Samurai. It’s more a case of Lucas borrowing a few ideas from the film.

Both Star Wars and The Hidden Fortress are about a hero trying to get a princess out of enemy territory and back home to restore balance, in a loose sense, but that’s about where the similarities in actual story end. The biggest similarity is actually in the viewpoint used to tell it. Like all of the Star Wars films (well, just the original trilogy really), the audience in The Hidden Fortress is guided through the narrative from the perspective of the lowliest characters. In Star Wars it’s the two droids, R2D2 and C3PO, whereas in Kurosawa’s film, it’s the two greedy peasants, Matashichi (Kamatari Fujiwara) and Tahei (Minoru Chiaki).

These two bickering fools escape from slavery and forage in a mountain stream for a lost treasure. It’s here where they run into Rokurota Makabe (Toshirô Mifune), a General (unbeknownst to them) who knows where the fortune lies and swindles them into helping him get Princess Yuki (Misa Uehara) out of the region and back to her homeland. The peasants try their best to make off with the gold along the way, but always get roped back by the much more cunning and powerful General. A Prince and the Pauper style message is built throughout too as the Princess’ story progresses and this provides the base for the final scenes.

Casting aside the Star Wars similarities, which, as mentioned, aren’t as prevalent as I was originally led to believe, this is more stellar work from Kurosawa. It’s a fun adventure with plenty of comedy, largely from the two peasants, as well as some more brutal moments. The opening 15 minutes or so and the final quarter in particular have a fair amount of violence and some rather nasty treatment of the lower classes. The action scenes are directed in a range of styles, with some fast-paced, kinetic sequences and also a stunningly tense, drawn out spear duel between Makabe and General Hyoe Tadokoro (Susumu Fujita). Reminiscent of Sergio Leone’s stand-offs in his spaghetti westerns, this was the most impressive scene in the film for me.

It’s visually stunning of course, like all of the films in this set and most of Kurosawa’s films in general. The old school Japanese filmmakers certainly knew their craft and Kurosawa was very good at taking the measured framing of his country’s masters and mixing elements of Hollywood’s sense of movement and excitement.

As my score out of five will attest, I didn’t find The Hidden Fortress quite as strong as the other films in the set though. It didn’t feel as tightly constructed. The film’s opening and closing quarters are very strong, but I found the mid-section meandered a little. The action takes a back seat to the comedy in this section, which hasn’t aged brilliantly. There are some effective dramatic sequences around the middle of the film though, such as the Princess witnessing the cruel treatment of some of the women from her province and the fire festival scene is superb.

That mid-section sag isn’t enough to fully detract from what is another masterfully made piece of grand entertainment though. The exciting finale alone is enough to make you forget any slower moments and on a whole it’s so finely produced you don’t mind the pace slowing a little.


Director: Akira Kurosawa
Screenplay: Akira Kurosawa, Ryûzô Kikushima
Starring: Toshirô Mifune, Eijirô Tôno, Tatsuya Nakadai
Country: Japan
Running Time: 110 min
Year: 1961

Yojimbo is the only film in the collection that I’ve seen quite a few times, although it’s been a few years, and it’s probably my favourite. I think another watch of Seven Samurai would likely knock it off the top spot though as that really blew me away. Ranking aside, this will always remain a favourite of mine as I enjoy every minute of it.

Plot-wise, if you’ve seen A Fistful of Dollars you’ll know the story of Yojimbo too. Where Star Wars borrowed a few ideas and stylistic flourishes from The Hidden Fortress, Sergio Leone’s seminal spaghetti western is a full on remake of Yojimbo, although it wasn’t credited as such at the time, leading to a successful lawsuit from Toho studios.

If you haven’t seen either film, Yojimbo is about an unnamed wandering ronin (a masterless samurai, played by, you guessed it, Toshirô Mifune) who arrives at a town which is caught in the stranglehold of two rival criminal gangs. The leaders, Seibei (Seizaburô Kawazu) and Ushi-Tora (Kyû Sazanka) are constantly fighting in the streets and the townsfolk have all either left or hide in their houses for fear of their lives. Seeing the feud as a way to make some money as well as figuring a way of solving the town’s problems, the ronin, dubbed Sanjuro Kuwabatake (translated as Mulberry-field Thirty – a name he makes up on the spot) sets to work. As he puts it brilliantly, “Listen, I get paid for killing. It would be better if all these men were dead. Think it over.”

What stood out for me watching all of these films in close succession was how different in tone they actually are. It may be the ‘Samurai Collection’, but these aren’t all generic solemn period action movies copying each other to emulate previous successes. Seven Samurai is a rousingly epic action film, Throne of Blood is a period horror with shades of Noh theatre, The Hidden Fortress is more of a lighthearted adventure, Yojimbo is a lean, fairly brutal, yet darkly comic pseudo-western and Sanjuro is pretty much a comedy with some splashes of violence here and there. Kurosawa was a master of fusing genres and rejuvenating Japanese styles and techniques by taking unlikely inspiration from Western literature and American cinema (which often landed him criticism in his own country). Yojimbo is a very interesting example of his skill as it is clearly influenced by American westerns of the 40’s and 50’s, yet managed to hugely influence the wave of westerns to come from Italy and the US again in the 60’s and 70’s.

The film is as über-cool as the best of Clint Eastwood too. As he approaches a crowd of villains without showing any fear, he calls to the local carpenter, “cooper. Order two more coffins. Maybe three.” Again this line was taken for Dollars and Leone kind of re-appropriated it in an altered form for his masterpiece (and my all time favourite film) “Once Upon a Time in the West” when Charles Bronson claims the three riders sent to kill him have brought two too many horses rather than forgotten one for him.

Yojimbo is nicely violent too. As with a lot of samurai films, the action is short and sharp, but when it comes we get severed limbs (one shot of which is exactly mirrored in Star Wars) and lashings of blood as well as quite a brutal beating. It’s a dark film in general with a vicious massacre of people escaping a burning building near the end proving particularly grim. Mifune’s devious rogue provides plenty of humour though alongside a couple of not-so-bright thugs and lowlifes. In fact, with this third or fourth viewing, the film proved funnier than I remembered. The final third becomes more serious though as Sanjuro’s sole selfless and honourable act, aiding the escape of a young family, results in his capture and suffering at the hands of the criminals.

Without wanting to sound like a broken record, Kurosawa’s use of the frame, here particularly wide, is stunning and once again he makes great use of the elements. Pretty much all of them make an appearance here – wind, rain, fire, smoke and dust. He uses these to forge a desolate and hostile environment which descends to hell by its climax.

I could go on about the technical proficiency and drum-tight editing and construction of the narrative, but ultimately all I need to say is that I love this film and if you haven’t seen it, go and buy this set now, because it’s brilliant, as are the four films which accompany it.


Director: Akira Kurosawa
Screenplay: Ryûzô Kikushima, Hideo Oguni, Akira Kurosawa
Starring: Toshirô Mifune, Tatsuya Nakadai, Keiju Kobayashi
Country: Japan
Running Time: 96 min
Year: 1962

My review of Sanjuro can be found here.

The Akira Kurosawa Samurai Collection box set is out on September 1st on Blu-Ray in the UK, released by the BFI. A DVD version has already been available for a while. The new HD remastered transfers look very good for the most part, with a wide dynamic range of contrasts, which is important for black and white pictures like these. Throne of Blood looks a little more damaged than the rest, probably due to all the fog and mist, but it still looks decent. Yojimbo is the stand out though and looks pretty spotless. The audio on them all is reasonable enough considering the age of the films, there are certainly no noticeable issues anyway.

The special features are largely the same as they were on the DVD’s I believe, other than the interview with Tony Rayns on Seven Samurai which appeared on the recently released steelbook Blu-Ray of the film and a well researched commentary with Japanese film expert Michael Jeck on Throne of Blood. The features brought over from before include a commentary with critic Philip Kemp on Yojimbo, a short but nicely clear and honest interview with George Lucas on The Hidden Fortress, an introduction and interview with Alex Cox on Sanjuro and the customary booklet with essays, reviews and full credits for the films.

Although most of the features won’t be new to those that already own the DVD’s, I couldn’t recommend the box set enough. For sheer consistent quality of filmmaking you’d be hard pressed to find a better collection and Kurosawa’s films demand to be seen on a big screen at the utmost quality, so the Blu-Ray upgrade is a no-brainer.

Review: We Gotta Get Out of This Place

Director: Simon Hawkins, Zeke Hawkins
Writer: Dutch Southern
Starring: Jeremy Allen White, Logan Huffman, Mackenzie Davis, Mark Pellegrino
Producer: Justin X. Duprie, Brian Udovich
Country: USA
Running Time: 92 min
Year: 2013
BBFC Certificate: 15

I love a good ‘noirish’ crime thriller, both in novel and film form. From the full on film noir of the 40’s and 50’s to neo-noir such as L.A. Confidential and No Country For Old Men, I’ve always been drawn to the dark, elaborate plots and hard boiled dialogue and content. So, when the press release for We Gotta Get Out of This Place popped up in my inbox, I jumped at the chance of reviewing the film.

The chief influence of this debut feature from brothers Simon and Zeke Hawkins isn’t really The Big Sleep or The Maltese Falcon or anything like that though (books or films). Barely 5 minutes into the film, when one of the characters is discussing the latest crime novel she’s reading, she pulls out and recommends South of Heaven by Jim Thompson. With this love of the author’s work coming back into the film a couple of times later too, it’s clear that We Gotta Get Out of This Place is an ode to the hardboiled American author. I must admit I haven’t read any of his books (even though I should have given my penchant for the crime genre) so I’ll probably have missed further references to them, but it didn’t stop me from appreciating the style the filmmakers were trying to recreate.

The plot of the film concerns the trouble three friends get into just as they approach a turning point in their lives. Living in a small town in Texas, cut off from the more forward thinking world of the city, two of the teenagers are keen to “get out of this place” as the title puts it. Having just finished school and being pretty bright, Bobby (Jeremy Allen White) and Sue (Mackenzie Davis) are all set to achieve this by going to college, with Sue’s boyfriend B.J. (Logan Huffman) due to be left behind to tread water in the backwards town. This doesn’t seem to phase him (at first) and he wants his friends to leave in style, so he takes the two of them out for the night of their lives. Not having enough cash to do so, B.J. foolishly steals a whole lot of money from his boss Giff (Mark Pellegrino) to fund the evening. Giff isn’t the most forgiving of people though and, when Bobby takes the blame and the others are implicated too, he threatens them into stealing back a larger amount of money from his own boss, Big Red (William Devane), or face the brutal consequences.

This setup got me totally hooked. You could see things were going to spiral out of control and the mismatched characters alongside some other complications (blossoming from the fact that Bobby and Sue clearly have the hots for each other) all pointed towards a film that would tick all of my boxes.

For the most part this was true and the film delivered the crime/noir tropes that I know and love as well as offering its own twist on them. However, I couldn’t help feeling that it never lived up to the strength of the opening third. Once the idea of the forced heist was set up and the love triangle started to take centre stage I felt the film dwindled a bit, leading to a less engaging mid-section. The performances are decent, feeling fairly natural (Huffman was a little over the top, although this was more due to the writing than the actor’s delivery) but the relationship problems weren’t really interesting enough to excite me like some of the initial ideas did.

B.J’s ways of dealing with the revelations get quite nasty, but ultimately the end result of this as well as the film’s finale in general felt a bit predictable. I was expecting a number of mind-boggling twists and turns, but instead there’s just (SPOILER) a predictable double-cross and a bog-standard ‘villain showdown’. (END OF SPOILER).

That said, the film is undeniably well made. In terms of mood and style, everything is handled brilliantly. There’s a first person perspective sequence in the middle which, although stylish and clever, sticks out like a sore thumb, but for the most part this is a dark and moody thriller/drama with some beautifully gloomy cinematography and a cool soundtrack.

There’s a nice hardboiled edge to things too, largely whenever Giff is involved. His scenes always demand your attention, partly due to a great performance, but also down to how downright evil his character is.

As good as a number of elements were, I couldn’t help feeling that We Gotta Get Out of This Place could have been that bit stronger though. It just lost a bit of momentum for me and then ended in a fairly uninspired manner. I’d still recommend the film to fans of Thompson and crime/noir in general, but don’t expect a Coen Brothers level reimagining.

We Gotta Get Out of This Place is out in UK cinemas on 15th August and on DVD on 8th September, released by Metrodome. I saw an online screener so can’t comment on the quality or features of the DVD release.