Category Archives: British Movies

The Beast in the Cellar (1971)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Elderly sisters harbor prisoner.

Soldiers throughout the English countryside are being gruesomely murdered by what seems to be some wild beast, but the authorities have no idea what type of creature it is, or where it came from. Ellie (Beryl Reid) and Joyce (Flora Robson) are two elderly sisters living together in an isolated rural home, who fear they may know the answer and it has something to do with a dark family secret that lies imprisoned in their basement.

The film’s perceived charm revolves around the casting of two legendary actresses in offbeat roles where they at times come-off both as antagonists and the anti-heroes. Reid is especially interesting because here she’s a child-like individual while just a few years earlier she was a controlling, domineering woman to Susannah York’s child-like one in The Killing of Sister George, so seeing her able to play both parts effectively is fun and impressive.

The banter between the two though needed to be played-up more and I was expecting, given the storyline, more of a campy, dark humored tone, which really never manifests. The dialogue gets too extended, as the women do nothing, but pretty much talk, talk, talk until it seemed to be almost a filmed stageplay with the camera locked in the house and nothing visually stimulating to captivate the viewer.

The scares consist mainly of a handheld camera swinging back and forth  in an apparent attempt to replicate the beast attacking the victim, which ends up being more dizzying and amateurish looking than frightening and the fact that this technique gets done with each attack makes it quite derivative. It would’ve been better had the attacks not been played-out at all, but instead simply revealed the mangled. bloody body afterwards. The film also makes the tacky error of portraying the eyeball, which gets gouged out on one victim, as being shaped like a ping pong ball, which is probably what was used, when in reality it is more oval shaped.

A good horror film should have a frightening image to latch onto, but here that’s lacking despite a few prime opportunities where one could’ve been implemented. Reid’s retelling to the police inspector about the backstory dealing with their basement prisoner has some interesting cutaways making it the best part of the movie, but no shot of the shell-shocked, war weary father even though he’s an integral component to the plot. The ultimate reveal of the beast is highly disappointing in a climactic finish that completely fizzles, which makes sitting through this not worth your time.

My Rating: 4 out of 10

Released: April 14, 1971

Runtime: 1 Hour 28 Minutes

Rated R

Director: James Kelly

Studio: Tigon Film Distributors

Available: DVD, Amazon Video

The Big Sleep (1978)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Hired to find blackmailer.

Philip Marlowe (Robert Mitchum) is an American detective living in London who gets hired by a aging, retired general named Sternwood (James Stewart) to locate the person who has been blackmailing him for money. He thinks it may have something to do with his colorful daughters: the gambling addicted Charlotte (Sarah Miles) and the promiscuous Camilla (Candy Clark) who enjoys posing for nude photographs.

The film is based on the 1939 novel of the same name by Raymond Chandler and a remake of the 1946 film that starred Humphrey Bogart. Here though the setting has been updated from the 1940’s to the 1970’s and the venue changed from New York to London. The movie was also able to tackle many of the more kinkier aspects of the story that the 40’s version was only able to allude to.

Personally I felt the changes worked and made the premise more interesting. Why an American detective would be working in England is never properly answered, but the new setting does allow for some interesting on-location shooting like having the Knebworth House used as the Sternwood Mansion, which is breathtaking to look at both inside and out. The erotic undertones get used to their full potential especially with Candy Clark’s nude scenes who looks fabulous naked and she plays the part with such spunk that every scene she is in is highly amusing and the whole film could’ve easily been built around her alone.

Mitchum’s presence isn’t as distracting as it was in Farewell, My Lovely where he played the same part, but in a 1940’s setting. Having it upgraded to the modern-day actually makes him come-off as younger and a lot of the reason could be the snazzy suits he wears as opposed to the drab hat and trench coat. He also isn’t forced to get into any physical confrontations with anyone, which would make him look foolish as he’d be too old to kick any young guy’s ass, nor is there any romantic overtures with a younger woman, only Camilla who immediately throws herself at him the second she meets him, but since she does that with every man it doesn’t matter, which all helps to make his advanced age, which was 60 at the time and far older than the intended character, a non-issue.

The main problem is the story, which I found to be just too damn confusing. I like mysteries, but more in the Agatha Christie realm where we have actual clues to follow and an interesting array of suspects as opposed to something with a dizzying pace where every line of dialogue creates a new twist and potential suspects popping up out of nowhere only to quickly get killed off or just disappear completely. It’s possible in the novel, which I never read, this all got laid out better, but here it became convoluted to the extent that after the first 30 minutes I became lost and didn’t care what happened next, or for that matter who got killed and who didn’t.

Having a side-story thrown-in like Marlowe taking up some sort of quirky hobby that had nothing to do with the mystery that the film could cut back to every once in awhile in order to allow the viewer to catch their breath would’ve helped. The film still manages to be watchable mainly from the high production values and the eclectic cast. I also enjoyed the beginning and end segments where the camera takes the driver’s point-of-view as we see the car drive through the winding roads as it enters the Sternwood Mansion property and then at the end while it leaves the property as the credits roll past.

My Rating: 4 out of 10

Released: March 13, 1978

Runtime: 1 Hour 40 Minutes

Rated R

Director: Michael Winner

Studio: United Artists

Available: DVD, Amazon Video, YouTube

Z.P.G. (1972)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Having babies is forbidden.

In the future the earth has become overrun with smog that blankets everything and has killed off all plant and animal life and forces everyone to wear breathing masks when outside. In effort to control the population growth the government orders that no one can have babies and instead must visit ‘Babyland’ where childless couples will be given life-sized robotic dolls to take care of instead. Russ (Oliver Reed) and Carol (Geraldine Chaplin) are a young couple who defy this order and secretly have a baby, but when their neighbors (Don Gordon, Diane Cilento) find out and threaten to go to the authorities the couple is forced to go on the run.

This film was both a critical and commercial failure when first released, but was later turned into a novel called ‘The Edict’ that was a success and helped gain the film a bit of a cult following. The special effects though aren’t too great with an opening shot showing this flying vehicle that looks like it was connected to a crane flying over a city’s skyline that resemble miniature toy models, which to me should make it prime fodder for an episode of ‘Mystery Science Theater’. Blanketing everything with smog doesn’t help as part of the fun of watching a Sci-fi film is seeing the elaborate set design and this film has none.

I didn’t like that everyone wears the exact same black uniform either. This is not the first sci-fi film to do this, but it always comes off as phony to me. Do style and fashion trends just go out the window in the future? Every society in every time period has always had individuality and those that break away from the mainstream, so expecting that every single person in the future conforms to the norm and agrees to wear the exact same outfit as everyone else is just not believable.

The plot is skeletal and not well thought out.  The first half plods along too slowly as it’s obvious from the start that Carol wants to have a baby and watching her come to this foregone decision is too draggy and the story should’ve started out right away with her having the child and then going from there to trying to hide it. Also, if the government really wanted to prevent people from having children why didn’t they just force every female to have a tubal ligation instead of trusting that after having sex they would go to their bathroom and press a button on an ‘abortion machine’ on the wall that would apparently send radiation, via a red glowing light, into the woman’s uterus.

The acting is good and Chaplin’s performance comes off as quite sincere. It’s also good to see Oliver Reed in a rare good-guy role although the script really doesn’t give him much to do. Cilento as the intrusive neighbor is by far the scene-stealer. The segment where she must be coached via a government official talking to her on a television monitor to show love for her robot child is one of the film’s best moments as is the later scene where she eventually destroys the doll by bashing its head onto a cement sidewalk.

Spoiler Alert!

The ending was the only time that I found myself slightly intrigued. Watching the couple get trapped inside a dome where after 12-hours they were set to be gassed to death and then having them dig their way out of it and into an underground cavern where via a inflatable raft they were able to escape was mildly interesting, but having them end up on an island where old nuclear weapons were buried was not satisfying. Did they end up dying of cancer? How could they survive without any plant or animal life and was anyone else on the island besides them? The ending like the rest of the film leaves far more questions than answers.

My Rating: 5 out of 10

Released: May 25, 1972

Runtime: 1 Hour 37 Minutes

Rated PG

Director: Michael Campus

Studio: Paramount

Available: DVD, Blu-ray, Amazon Video, YouTube

The Caretaker (1963)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Homeless man moves in.

Based on the Harold Pinter play the story centers around Aston (Robert Shaw) who suffers from an undisclosed mental illness and lives alone in a cramped, cluttered room of an abandoned home that his brother Mick (Alan Bates) is trying to renovate. Mac Davies (Donald Pleasence) is a homeless man that Aston invites to stay with him, but Mac proves to be a difficult roommate and when Aston asks him to leave Mac refuses and instead tries connive with Mick to have Aston thrown out instead.

From a purely technical standpoint this is a brilliant film as Clive Donner’s direction perfectly captures the claustrophobic setting. It can be hard to recreate a truly cluttered interior, but this room really comes off looking like a storage closet with so many items crowded into it that you wonder how the performers were even able to move around or how the camera crew could fit in to film it. You eventually lose touch with this being a movie at all, but instead start to feel like you’re right in there with the characters as the camera creates an incredible intimacy with the people on the screen until it’s like they’re breathing right on you.

The performances are impressive and the one thing that keeps the viewer captivated as there is very little action otherwise. All three starred in the stage production and basically did this for free as the budget was so low that they couldn’t be paid upfront and were promised a percentage of the profits if the film went into the black. Shaw is particularly interesting as he has played so many dominating characters in the past that watching him portray someone who is shy and unassuming and still do it with equal effectiveness is a testament to his talents while Pleasence, who wears heavy make-up to make him look much older than he really was, is almost unrecognizable.

My only complaint is that not enough happens. I’ve seen and enjoyed many of Pinter’s other plays that were turned into films and although this one is well crafted it still lacks the necessary payoff. I kept waiting for that great dramatic moment that seems from the very beginning to be just bubbling underneath the surface, but it never materializes. I wanted more of an arch that the characters and material seemed ripe for and to have it just end the way it began with not much occurring in between is a real disappointment. Again, the performance and camerawork keep you captivated, but it all adds up to being much ado about nothing and the story’s ultimate message/point being quite murky.

Alternate Title: The Guest

My Rating: 6 out of 10

Released: July 2, 1963

Runtime: 1 Hour 45 Minutes

Not Rated

Director: Clive Donner

Studio: Janus Films

Available: DVD (Region 2)

Fear is the Key (1972)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: He has secret motives.

Based on the 1961 novel by Alistair MacLean the story centers around John Talbot (Barry Newman) who finds himself inside a small town courtroom standing trial for the murder of a policeman that he did not commit. He manages to escape while kidnapping a woman named Sarah (Suzy Kendall) who he takes as his hostage. He evades the authorities only to ultimately end up inside the home of Sarah’s father (Ray McAnally) where another man named Vyland (John Vernon) hires him to operate a submarine that will salvage a cargo of diamonds housed inside an underwater plane wreck.

I never read the novel, but to me the whole thing comes off in a haphazard style where the twists aren’t interesting at all and only help to make the plot even more confusing and unfocused. The car chase sequence is genuinely well done to the point that it had me riveted and quite impressed with how it was shot and looking like one of the more realistic chases I’ve seen amongst the many that are already out there. Unfortunately to go from what initially seems to be a fugitive-on-the-run-flick to an underwater espionage, sci-fi thriller is not intriguing, but jarring instead and comes off like two entirely different movies crammed together with only the thinnest of plot threads to hold it together.

Spoiler Alert!

The biggest disappointment though is when at the film’s midway point John confides to Sarah that everything that we’ve seen before has been staged and none of it was real. For that to happen though would’ve taken many different people working together to pull it off and it’s never explained how he was able to do that. For instance who gave John the blank bullets to shoot at the police officer to escape from the courtroom and why did the policeman agree to pretend he was shot if he really wasn’t and what was in it for him to get in on John’s elaborate scheme? None of this gets explained and only helps to make it even more absurd and ludicrous until you can’t take any of it seriously.

End of Spoiler Alert!

Newman is not strong enough actor for the part and conveys a rather transparent presence when he should’ve had the exact opposite effect. His appearance here is too similar to the one he just gotten done doing in Vanishing Point including driving around in a similar type of car making this film seem like an extension of that one. It also comes-off like typecasting and makes viewers think this is the only type of role he can play, which could explain why his leading man career pretty much tanked after this.

The film’s only interesting aspect is the appearance of Ben Kingsley in his film debut, which was his only movie role during the 70’s as he didn’t appear in another one until 10 years later when he starred in Gandhi. Here he plays one of Vyland’s henchmen who figures prominently in the climactic finish where they must fight for air after the oxygen in the sub gets turned off, which isn’t bad.

This is also a rare production that was financed by a British studio, but filmed on-location in the US. The result captures America through a European perspective, which makes the entire thing a bit off-kilter from the very beginning.

My Rating: 4 out of 10

Released: December 26, 1972

Runtime: 1 Hour 43 Minutes

Rated PG

Director: Michael Tuchner

Studio: Anglo-EMI

Available: DVD (Region 2), Amazon Video, YouTube

The Haunting of Julia (1977)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Ghost child haunts home.

Julia (Mia Farrow) leaves her husband Magnus (Keir Dullea) after their child accidently chokes on some food and dies. She then moves into a large home, which also had a child die in it years before. After Julia begins living there for a while she notices the presence of a ghostly spirit and holds a séance run by Mrs. Flood (Anna Wing) where she learns that a child was murdered by a group of other children lead by the mischievous Olivia, who is now the one haunting her home.

The film is based on an early Peter Straub noveI, but seems all mixed up in what direction it wants to take and I couldn’t understand why the first part of the story dealing with her child dying was even needed as the second half goes into an entirely different direction.  It also introduces a solid nemesis in the form of her controlling ex-husband who dies off quickly, which again left me wondering why his character was even put into the story at all.

The choking aspect is another issue and I was genuinely shocked they showed it as it’s hard to effectively pull off without it looking unintentionally comical. Having the child get hit by a train, car, slipping off the side of a cliff, or even drowning is far more dramatic and could leave a lasting visual impact whereas this looks as clumsily staged as it sounds.

The séance should’ve been avoided too since that has been parodied so much in movies that it’s hard to take seriously. The film doesn’t approach it with any new interesting angle so it comes-off as tacky as every other séance you’ve seen in a movie, even the funny ones, and yet this one we’re supposed to take seriously even though any sane participant would be convinced that the woman leading it was simply overacting for affect, which is how it looks.

The backstory involving the female child who was able to somehow control the other boys in the neighborhood to do her bidding had an intriguing element, which made me think that’s what should’ve been played out while the ghost angle dropped completely. Instead it could’ve analyzed the psycho young girl while she was alive and examined how she got the way that she did and what methods she used to convince the other kids to do what she wanted, which is never explored, but would’ve been far scarier than what ultimately gets played out.

Farrow with her super short haircut looks too much like she did in Rosemary’s Baby and a different do was needed to avoid the resemblance. Dullea has potential as the heavy, but then disappears too soon. The only one that does shine is veteran actress Cathleen Nesbit who hams it up as the mother of the killer girl, but overall the rest of it is a big letdown including the non-eventful ending that completely fizzles making it no surprise why the studio left this one sitting on the shelf for 5 years before finally giving a limited release that netted it very little in return.

Alternate Title: Full Circle

My Rating: 2 out of 10

Released: May 29, 1981 (Filmed in 1976)

Runtime: 1Hour 38Minutes

Rated R

Director: Richard Loncraine

Studio: Discovery Films

Available: DVD (Out-of-Print), Amazon video, YouTube

Dominique (1979)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Dead wife haunts husband.

Dominque (Jean Simmons) is a woman suffering from a fragile mental state who is convinced that her husband David (Cliff Robertson) is trying to drive her insane. She eventually hangs herself and then her ghostly presence comes back to haunt him, which ends up driving him over the edge Dominique (Jean Simmons) is a woman with a fragile mental state who is convinced that her husband as well.

The film was directed by the talented Michael Anderson, but you’d hardly know it as the DVD transfer by Synergy, which is already known to produce some very low grade quality stuff and looks like somebody’s badly lighted, grainy home movie. Unfortunately this is the same transfer that gets streamed onto Amazon, so if you want to see this otherwise rare movie you’ll have to buckle-up and accept the substandard look.

As for the story, which is based on the novel ‘What Beckoning Ghost’ by Harold Lawlor, it’s not all that much better as the plot and characters come off as stiff and one-dimensional. There’s no backstory either, which I felt was needed to help explain why Robertson is an American living in England and what specific job does he do that allows him to be able to afford such a big mansion? There’s also passing mention of Dominique being in an earlier accident that might’ve helped explain her mental state, but it’s never talked about in detail, or better yet shown in flashback.

Initially it’s a mystery as to whether Robertson is trying to drive Simmons mad or if it is all just in her head. Finally towards the end he admits to it and supposedly it’s all just so he can get his hands onto her money, but wouldn’t it have been much easier to hire someone to kill her and make it look like an accident then trying to drive someone insane, which has no guarantee of working and could take years and years to accomplish? Also, if Dominique is already aware of what he is trying to do then why doesn’t she just leave him instead of turning to suicide?

The ghostly special effects consist of shots showing a piano playing by itself as well as a shadowy figure walking from a distance, which isn’t much and gets repeated at several different points, which becomes quite redundant. Both stars are wasted as well. Simmons is good, but she’s only in it at the start while Robertson much spends the entire second-half saying very little and instead relying on his almost constant shocked/scared expressions to help propel the plot along.

Despite all this it still manages to be moderately compelling and may appease those who are in to ghostly tales. The twist at the end is a definite surprise, but it also leaves open a lot of logic loopholes that makes the entire thing seem quite implausible.

My Rating: 5 out of 10

Released: March 5, 1979

Runtime: 1Hour 35Minutes

Rated PG

Director: Michael Anderson

Studio: Astral Films

Available: DVD-R, Amazon Video

The Romantic Englishwoman (1975)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Writer suspects wife’s infidelity.

Unhappy in her marriage Elizabeth (Glenda Jackson) goes off to Baden-Baden, Germany for a little respite and there meets up with the dashing Thomas (Helmut Berger). Although quite charming Thomas is also caught up in the criminal underworld and being chased by gangsters. After the two share a brief tryst she returns home to her husband Lewis (Michael Caine). Lewis suspects that Elizabeth was unfaithful during her trip, but can’t prove it. He invites Thomas to stay at their place in order to help him finish a screenplay that he is working on and in the process the affair between Thomas and Elizabeth starts up again, but this time Lewis is determined to stop it.

The concept is intriguing, but the film gets ruined by playing its cards too early. A far more interesting scenario would’ve been to have Lewis not suspect Thomas at all or even his wife’s longing for him and instead simply invited Thomas over as a genuine writing partner and only slowly becoming aware of the tensions boiling beneath the surface. Unfortunately having Lewis almost immediately figure things out even before Thomas arrives makes for a very boring first hour with the couple arguing over the same staid, redundant infidelity talking points that have been done a million times before.

The story’s only interesting wrinkle has Thomas starting up a relationship with the nanny (Beatrice Romand), which made more sense as Elizabeth was way older than him and I failed to see why he would’ve been attracted to her to begin with. The nanny was young and cute and it was fun seeing Elizabeth seethe with the same type of jealousy as Lewis, but the film quickly kills this storyline by having the nanny forced to move out and everything goes back to the same formulaic love triangle.

Having Lewis recreating scenes in his screenplay that replicates what he is going through in real-life had potential as it nicely illustrates the thin line between fact and fiction that writers routinely do. Unfortunately the film treats these scenes in a campy/hooky manner and then drops it just as quickly as the romance scenario mentioned above.

The direction is static with a camera nailed to the ground and everything captured in a dingy, shadowy way. The opening bit detailing how Elizabeth first meets Thomas had a naturalistic quality, but the shot were she spots Thomas from across the room and her eyes remained locked on his and she never turns away is not believable. If two people are strangers and one catches the other one staring at them it’s sheer human reflex that the other one will divert their gaze as it’s rude, awkward and off-putting otherwise. Also, to have the word romantic in the title is absurd especially after the two proceed to have sex inside an elevator during their first meeting, which is pure animalistic lust and a more accurate title would’ve been ‘The Horny Englishwoman’.

Spoiler Alert!

The third act helps fill in the gaps in regards to Thomas’ secret past, but having Elizabeth run off with him makes her character seem exceedingly shallow as she essentially abandons her young child in the process. Earlier in the film she got very upset when she saw her child sitting out on a ledge and she fired her nanny for being irresponsible and not watching him more carefully only to then by running off with Thomas behave just as irresponsibly.

The film’s final shot features strange people inhabiting Lewis and Elizabeth’s home like they’re having a party without the owners there. Lewis then after having taken Elizabeth away from Thomas and back with him drives the car the two are in up to their house. Elizabeth looks shocked at seeing all the people inside, but Lewis has a jaded expression and seems to being enjoying watching Elizabeth’s discomfort, but then the film cuts to the credits and never explains what’s occurring and nothing is more frustrating than a film which ends just as it’s finally beginning to get interesting.

My Rating: 6 out of 10

Released: November 26, 1975

Runtime: 1Hour 56Minutes

Rated R

Director: Joseph Losey

Studio: New World Pictures

Available: DVD, Blu-ray, Amazon Video

Local Hero (1983)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Businessman travels to Scotland.

Mac (Peter Riegert) works for a gas company out of Houston, Texas that wants to buy up the small town of Ferness, which sits on the north shore of Scotland and turn it into an oil refinery. It’s Mac’s job to travel to the town and offer the citizens a generous monetary offer to sell their homes. He is not excited about going as he enjoys doing business over the phone, but once there he grows attached to the more laid-back pace. The townspeople grow found of Mac as well and eager to take the money and become rich. The problem is that through research they find that it is actually Ben Knox (Fulton Mackay) an eccentric man who lives in a ramshackle house on the beach who owns the land and he is unwilling to sell no matter what the price.

This film received positive reviews at the time of its release and one of the few movies to get a 100% positive rating at rotten tomatoes and yet after watching this now twice I’m still mystified over what all the fuss is about. When I first saw it several decades ago I came away feeling like I had just viewed something where very little happens and upon the second viewing I felt the exact same way.

I get that the emphasis is supposed to be on the quirky humor and that’s fine, there’s even a few chuckles, but the script flat lines after its initial set-up.  The eccentric characters and offbeat quality becomes one-dimensional and the story offers no true conflict or tension. Everything gets handled in such a subtle, dry way that there’s barely any drama at all and seems not really worth the effort to watch.

It would’ve worked better had there been one true antagonist, somebody that would be in stark contrast to everybody else and create genuine upheaval to the otherwise benign complacency. Initially it seemed that Lancaster’s character, who owns the oil refinery, would be a perfect foil to the serenity. Most business owners are consumed with the profit margin, but this one is instead more interested in astronomy. I realize that writer/director Bill Forsyth wanted to work against the grain and not portray the typical caricature of a hard-driven business man, but how can a guy run a successful business if the financial bottom line isn’t his main drive? Making the business owner a lovable kook as the rest takes away any potential confrontation of which this movie could’ve used some.

Riegert is equally transparent. His yuppie tendencies should’ve been played up more and his dramatic arch from big city businessman to lover of small town life more apparent. I was hoping that after he slowly became fond of the place that he would be one to throw the monkey wrench into the proceedings by refusing to make a deal and fighting to save the town even as the other residents are more than happy to leave it, which would’ve been much funnier.

The townspeople are blah too. The viewer only gets to know a few of them and they’re indistinguishable from the other. The only one that stands out is the lady with a punk look and I was intrigued to learn more about her and how she was able to get along with everyone else despite dressing in such a radical style and yet we never hear her utter a single word.

Ben Knox is the only character that offers a twist as we initially perceive him to be a homeless nobody only to realize that he ultimately holds all the cards and yet it just teases the viewer with a potential confrontation between he and the townspeople that never comes to fruition. I was also disappointed that we didn’t get to see the inside of his makeshift home that looked so rundown and precariously put together that you truly wondered what the interior looked like or how someone could survive living in it for as long as he does. Lancaster goes into the home to negotiate a deal with him and I felt the camera should’ve followed him in.

If you’re looking for lightly amusing comedy that goes down easy then you may take a little more of a liking to this. If you desire a movie with something more than just incessant whimsy then this flick will not suffice.

My Rating: 5 out of 10

Released: February 18, 1983

Runtime: 1Hour 51Minutes

Rated PG

Director: Bill Forsyth

Studio: Warner Brothers

Available: DVD, Amazon Video, YouTube

Brannigan (1975)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: The Duke in London

Jim Brannigan (John Wayne) is a gruff Chicago cop hired to extradite mob boss Ben Larkin (John Vernon) from London back to the states, but Brannigan finds that England’s more restrained form of policing doesn’t conform to his and is at immediate odds with British police commander Charles Swann (Richard Attenborough) from the beginning. Things become even more problematic when Larkin gets kidnapped forcing the police to engage in a ransom drop in order to get him back. Brannigan must also avoid a very aggressive hit-man named Gorman (Daniel Pilon) who was hired by Larkin to kill him.

This was Wayne’s second attempt at playing a modern day tough guy policeman, which was mainly in response to being snubbed from the starring role in Dirty Harry. His first flick as a cop was McQ, which was quite derivative and made The Duke look like an old, sickly walking corpse ready to keel over at any second. Here though Wayne is strangely reinvigorated and seems much spryer on his feet. He also doesn’t take himself quite as seriously and spends most of the time eliciting humorous quips and comebacks, but by the end the London scenery and array of supporting characters start to overshadow the big guy until he becomes almost like a co-star in his own movie.

The story is a bit different from a typical Wayne vehicle in that the first half has virtually no action and consists mainly of the police surveillance of the kidnappers and trying to figure out what they’ll do next. One drawn out scene even deals with Wayne and lady cop friend Jennifer (Judy Geeson) following a mail truck around London in order to see where the ransom money, which they think is in the truck, will be taken.

While this subdued approach may annoy the more action addicted Wayne fans I found it to be a refreshing change of pace and I liked how the film analyzed the boring aspects of police work instead of just glamorizing the sexy shootouts. Unfortunately the second-half devolves back into the familiar formula, which includes not only an uninspired car chase, but a big barroom brawl as well. The brawl, which was filmed at the exclusive Garrick Club, is the most off-putting because it’s done in a comically slapstick way that drains all the grittiness and realism that the film tried so hard to create in the first-half right out of the movie altogether.

The sleek looking, dark glasses wearing hit-man, who drives a ritzy looking sports car seems like a character straight out of a James Bond movie. The segment done in slow motion as well as the running joke of having every hotel room that Brannigan stays in get destroyed by those who is after him only helps to cement this as being just another whimsical, uninspired cop outing that despite a first half that showed some promise has nothing edgy or original about it.

The idea of having Brannigan essentially trying to ‘save’ a mobster’s life just so he can bring him back here to go to trial isn’t a very riveting plot point to begin with. The Larkin character is completely unlikable, so the viewer could care less whether he can escape the clutches of his kidnappers or not and the story would’ve been far more compelling had Brannigan been out to save a kidnapped child instead, which along with the other misguided ideas described above probably explains why this thing ended up tanking badly at the box office.

My Rating: 6 out of 10

Released: March 26, 1975

Runtime: 1Hour 51Minutes

Rated PG

Director: Douglas Hickox

Studio: United Artists

Available: DVD, Blu-ray, Amazon Video, YouTube