Category Archives: British Movies

Antonia and Jane (1991)

antonia and jane 1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Friends aren’t always friends.

Jane (Imelda Staunton) is a depressed single woman slipping into middle-age and jealous of her lifelong friend Antonia (Saskia Reeves) who she feels is prettier and gets all the breaks. Jane pours her thoughts out to her therapist (Brenda Bruce), but the twist is that Antonia sees the same therapist and is having the same problems only in reverse as she is jealous of Jane. The first half-hour looks at things from Jane’s point-of-view while the second half shows it from Antonia’s.

The element that really makes this movie so enjoyable is the cutaways. Everything talked about during their sessions is recreated visually. These recreations are all quite funny. Some of my favorites are when Jane talks about a trip to Canada and we see her pushing over a tall pine tree with one hand. There is also the segment where Antonia’s 10-year-old son gives a raunchy stand-up comedy routine to his friends during his birthday party. The part where the two find themselves trapped in an old French war movie complete with them speaking fluid French and subtitles is quite creative as is the many different and colorful outfits that the two wear each year when they get together for their annual visit with the other.

Somehow friendships between females are quite different than the ones of their male counterparts. Harbored jealousies and insecurities seem to always lurk beneath the surface no matter how ‘happy’ their facades and this film explores them with biting and accurate detail as well as showing how skewed people’s perspectives can sometimes be. I also found myself digging the name Antonia and wondered why we don’t hear more women named that so…

Memo to all young couples and parents to be: Let’s get a few more  Antonias out there and a few less Ashleys. Thank You.

The Howard character played by Bill Nighy is also quite amusing. Jane meets him at an art exhibit where he displays big blown-up black and white photographs of twenty-four different naked rear-ends. The two go down the line and analyze each and every one, which in a strange way I thought was kind of interesting. I also got a kick out of the way he asks Jane out on a date.

Howard: Are you involved in a long-term monogamous mutually self-absorbed sexual relationship?

Jane: No.

Howard: Me neither.

In an effort to keep the quirkiness going the two women characters sometime do strange things that at times makes them hard to relate to and is the film’s only real weakness. For instance Antonia tells Jane that she is having an affair with Jane’s husband and Jane becomes very supportive of it and attends their wedding even though most people would probably want to kill their friend if they told them that and the unfaithful husband to boot. There is another scene where Antonia meets a stranger at a theater and goes back to his place for sex and even allows herself to get tied up during some kinky bondage games, which most viewers will consider being too reckless and putting oneself into too vulnerable a position with someone they don’t even know.

Usually films that seemed obsessed with tying everything together get overdone and annoying, but here the ironies are hilarious and become funnier as it goes along. Strangely it is the very end where the film loses it flamboyance and instead gives us a nice, simple scene of genuine human affection that leaves the strongest impact in this very offbeat and entertaining gem.

My Rating: 7 out of 10

Released: November 2, 1991

Runtime: 1Hour 15Minutes

Rated R

Director: Beeban Kidron

Studio: Miramax

Available: VHS

Cul-De-Sac (1966)

cul de sac 2

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Bubbling beneath the surface.

Albie and Richard (Jack MacGowran, Lionel Stander) are two gangsters on the run. Albie is injured with a gunshot wound and their getaway car has broken down. They come upon an isolated castle owned by George (Donald Pleasance) who lives there with his new wife Teresa (Francoise Dorleac, who tragically died in a car accident just one year after this film was released). George is very passive and timid and pretty much allows Richard to have his way as he takes over the place and his wife and yet as the situation progresses different shades of the character’s personalities begin to come to light.

Roman Polanski leaves his strong directorial touch from the exquisite opening shot, which shows an old car being pushed along on a desolate road amidst a very flat landscape until the end. In the hands of any other director this otherwise odd story probably would not have worked. Like with A Knife in Water Polanski makes great use of the quiet and serene atmosphere and as a viewer you feel like you are right there with the characters.  Filmed on-location at the Lindisfarne Castle on Holy Island in Northumberland, England the movie makes great use of the tranquil setting. I found it almost hard to believe that there was a film crew there as the isolation really grabs you and sucks you in. The quiet moments are the film’s strongest and I just loved the hooting owl heard in the background. The idea of filming it in black and white nicely compliments the film’s dark psychological undertones.

The film’s novelty is watching how the characters evolve and interact with one another. Donald Pleasance gives one of his best performances as the cowardly George. There have been many weak and frighten characters in cinema history, but Pleasance makes the character here quite interesting and the way he finally shows some bravado at the least likely moment is fascinating. Stander also excels with a character that initially comes off as a brute, but at strange times reveals a trusting and even child-like manner.

The movie can be viewed in different ways and doesn’t fit distinctly into any type of genre. To a degree it can work as a dark psychological character study, a mystery, film noir, a thriller, or macabre comedy. Approaching it as a comedy works best Polanski has not always had great success in that area and some of his comedies in particular the ill-advised Pirates have been complete disasters, but this one works. The best scene is when some of George’s old friends come to visit and bring along their bratty son who becomes an absolute terror to everyone.

The odd ending is open to interpretation and leaves a lasting impression. This is also a great chance to see Jacqueline Bisset in her film debut. She appears during the second half wearing glasses and saying little, but is as beautiful and alluring as ever.

cul de sac 1

My Rating: 8 out of 10

Released: November 7, 1966

Runtime: 1Hour 57Minutes

Not Rated

Director: Roman Polanski

Studio: Tekli British Productions

Available: DVD (The Criterion Collection) Blu-ray, Amazon Instant Video, Netflix streaming

The Birthday Party (1968)

the birthday party 3

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Tear up the newspaper.

Since tomorrow will be my birthday I wanted to come up with a film that had birthdays as its theme and found this bizarre but fascinating obscurity. It is the story based on the play by Harold Pinter of Stanley Webber (Robert Shaw) a mysterious and private man who takes up lodging in a rundown British seaside house. He rents an upstairs room from Mr. and Mrs. Bowles (Moultrie Kelsall, Dandy Nichols) who are quite odd themselves. One day two men dressed in black suits (Patrick Magee, Sydney Tafler) come to pay Stanley a visit. They know something about Stanley’s past and their presence frightens him to the extent that it causes him to have a nervous breakdown.

On the surface this film shouldn’t work. There is an excessive amount of talking with dialogue that doesn’t say much and at times seems absurd. The set is drab and dirty with the camera seemingly locked down inside of it. There is never any explanation about Stanley’s past or what he is running from nor who the men are or what they know about him. The ending is elusive and the viewer will go away feeling more confused than they did at the start.

However, it is these ingredients that make the film so thoroughly intriguing. The seemingly banal dialogue is simply a façade for underlying thoughts and feelings. What Stanley is trying to run from is unimportant because it is really not about him at all and is instead more about ourselves, human nature and the quandary of our existence. It’s an examination of people’s futile attempts at trying to escape from who they are only to have society and life catch up with them. The set could be a metaphor for the inside of Stanley’s head. The grimy and decayed place symbolizes his decayed soul and the men in black suits are his conscience coming to haunt him.

Once you adjust to the eccentric narrative it then becomes a fantastic film for observing subtitles and nuance. Director William Friedkin shows a keenness for detail not only visually, but with the sound as well. The way the Magee character tears up a newspaper and the sound used for it could actually unnerve some viewers. Stanley’s meltdown scene is very unique and overall the direction is superb for such difficult material.

This movie was years ahead of its time, but for some it may be off-putting. However, it should be enjoyed by those who crave the avant-garde. It is also a rare chance to the see the normally strong-willed Shaw playing a very weak and vulnerable character. Nichols is also a stand-out playing an Edith Bunker type with a perverse streak lying just beneath the surface.

the birthday party 1

My Rating: 8 out of 10

Released: December 9, 1968

Runtime: 2Hours 3Minutes

Rated G

Director: William Friedkin

Studio: Palomar Pictures International

Available: VHS, DVD (Region 2)

Night Watch (1973)

night watch 2

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Murder in the window.

Ellen Wheeler (Elizabeth Taylor) is an emotionally unstable woman recovering from a nervous breakdown. Her first husband died in a car crash along with his young lady lover. Now her second husband John (Laurence Harvey) is fooling around with Ellen’s best friend Sara (Billie Whitelaw). One night Ellen witnesses a murder at the abandoned house next door, but because of Ellen’s past mental state no one believes her. Even the police doubt her story, which starts to send her over-the-edge.

I saw this play about a year ago with a group of friends at a local church. It was written by Lucille Fletcher best known for having done Sorry Wrong Number, which was later turned into a classic film starring Barbra Stanwyck. Although the play started out slowly the twist ending was impressive and something no one in the audience had predicted, but what I liked even better was that when you went back and thought about it, it made perfect sense. I thought at the time that it would make a great movie and was interested in seeing what this film did with it. I felt that there was no way they could screw up such a great story, but somehow they managed to do it.

Director Brian G. Hutton adds a lot of elements to make it more cinematic that should have helped it, but it really doesn’t. I liked the flashback sequences showing the car crash of the first husband as well as Ellen visiting the hospital and identifying the bodies. These segments have a good nightmarish visual quality to them, but Hutton goes back to it too often and eventually wears it out. I also liked that the film shows the police inspecting the inside of the abandoned home, which in the play you never see, but I felt they could have done a lot more to make the place seem more distinct and creepy. There is also a skirmish between two people inside the place at the end that you can hear, but not see because it is too dark and shadowy, which was annoying. The music is effectively creepy, but it also has a ringing quality that quickly becomes irritating and gets way over-played.

This was just one of the many misfires that Taylor did during the 70’s that helped extinguish her otherwise illustrious career long before it should’ve. This one fares slightly better than the others, but not by much. Her affected British accent could seem annoying to some and sounds kind of like the put-on one that Madonna sometimes does although for the record Taylor’s is better than hers. Liz’s emotionalism is a bit too theatrical and may come off as unintentionally funny to certain viewers although seeing her go completely nutty is impressive and fun.

Harvey is all wrong as the husband. His cold, detached presence can work in certain roles, but definitely not in this one. In the play that I saw the actor cast in this part looked more middle-aged with a spare tire stomach, balding head, and graying sideburns, which is what I felt the role called for. This is a character that is overburdened with a stressful job and unstable wife and yet Harvey shows none of this. His slick black hair and turtleneck shirts, which were fashionable at the time, make him look like someone still going out to the trendy nightclubs to pick up young chicks… or guys.

Whitelaw is one of the best British character actresses of all-time, but her talents are wasted with a part that doesn’t allow her to show any range. Her blonde hairdo is nice, but Taylor’s histrionics dominate the proceedings and unceremoniously push Whitelaw into the background.

The play had a lot of humor especially with the Mr. Appleby character played here by actor Robert Lange. Unfortunately the movie turns it into a serious drama making it seem more like a soap opera instead of a mystery. I came away from this feeling that the live production that I had seen was far more entertaining and intriguing. I would suggest to viewers to skip this film and wait for a chance to see it done as a play as the movie does not do the story justice.

night watch 1

My Rating: 3 out of 10

Released: August 9, 1973

Runtime: 1Hour 39Minutes

Rated PG

Director: Brian G. Hutton

Studio: AVCO Embassy Pictures

Available: DVD (Warner Archive), Amazon Instant Video

Sliding Doors (1998)

sliding doors

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Two scenarios in one.

This movie examines the life of a woman named Helen (Gwyneth Paltrow) who lives in a parallel universe. In one story she makes it through the sliding doors of a train and comes home to find her boyfriend in bed with another woman. In the second story she misses the train and does not find out about the affair.

The novelty keeps your attention for a while as the director Peter Howitt cuts back and forth between the two stories nicely. They evolve in interesting ways, but then instead of veering off into separate directions they start to come together until the one story ends up being pretty much like the other. This then negates the original idea altogether and makes it just another ‘chick flick’. The boyfriend Gerry (John Lynch) has to be one of the most pathetic out there. Not only does he have the audacity to have an affair on the beautiful and sweet Helen, but he does it while she is supporting him so he can sit home all day and write a book! He also seems to be unable to ever stand up for himself and he has a Hugh Grant type hairstyle that seems to only look good on Grant and nobody else. Jeanne Tripplehorn as the other woman is extremely cold and bitchy to the point that you wonder why anyone, even this twit, would want to have a relationship with her. Helen’s other love interest James (John Hannah) is charming in too much of a prepackaged sort of way and at times it seems to come off like he is a stalker even though that is not the intention. Also Paltrow ends up becoming afflicted with the ‘Ali MacGraw syndrome’ as she is shown lying in a hospital bed after a bad accident with no scratches or bruises and looking as beautiful as ever.

On the positive side Paltrow is really pretty to look at and speaks with an effective British accent, which takes a little getting used to, but she does it well. She sports two different hairstyles and looks good in both, but with the second one it starts to make her look exactly like Susan Dey from the 80’s TV-show ‘L.A. Law’.

The movie is fun for a while, even engaging, but eventually it throws in too many dramatic twists. The boyfriend is beyond pathetic and Tripplehorn, as his lover, seems to be running for bitch of the century.

My Rating: 5 out of 10

Released: April 24, 1998

Runtime: 1Hour 39Minutes

Rated R

Director: Peter Howitt

Studio: Miramax Films

Available: DVD, Amazon Instant Video

Turtle Diary (1985)

turtle diary 1

By Richard Winters

My Rating: 5 out of 10

4-Word Review: They free the turtles.

William (Ben Kingsley) becomes fixated with the idea of freeing the sea turtles at the London Zoo and returning them to the ocean. Neaera (Glenda Jackson) starts to have the same dream. The two get together and with the help of the kindly zookeeper George (Michael Gambon) begin to execute their plan.

Although well received by the critics at the time of its release I felt the film never seemed to gel. The plot is too thin and there is no explanation as to why William got so worked up about the turtles being in captivity. I felt there needed to be something shown in his history or character to explain this motivation. After all there are thousands and thousands of people that go to this zoo each year and none of them seemed to get worked up about the same idea. Also, why just the turtles? If William’s problem is seeing an animal that is not in their natural habitat then why not free all the species in the complex.

The plan also goes off way too seamlessly. What are the odds that the zookeeper would be in agreement with them and pretty much do all the work for them in setting it up to the point that all they end up doing is driving the turtles to the ocean. The story would have been a lot funnier and exciting had they somehow had to do it all themselves and behind the scenes. As it is here it becomes almost a non-event that barely holds any interest. Also, I have never heard of a zoo that decides not to press charges when they find that the turtles have been stolen or not firing the employee when they find that he had something to do with it.

The way Neaera and William get together is equally uninspired. They seemingly just keep bumping into each other and through sheer circumstance find out they have the same motivations. I was expecting something a little more creative and humorous. Neaera’s attempts at getting William’s address is particularly forced and contrived. In fact almost all of the conversations that they have with the exception of one where Neaera describes a weird dream that she had is very ordinary. The dialogue they have while traveling to the ocean is the blandest and none of it reveals much about the characters who end up being pretty forgettable.

Watching them carry the turtles to the open water has no emotional impact at all. It is not even the climatic sequence as it happens with 30 minutes left of the film. The rest of the movie concerns William’s dealings with the other people in his flat, which is mainly pointless.

The screenplay was written by celebrated writer Harold Pinter, who has an amusing cameo as one of the customers at William’s bookstore. Pinter was famous for his cutting edge and provocative plays of the 50’s, 60’s, and 70’s many of which I found to be quite fascinating, but this thing seems to be the polar opposite. The story and execution is standard while lacking any flair or pizazz. I can handle low-key and subtlety and many times relish it, but there still needs to be something more to it. More quirkiness and humor was needed as well as some tension. The film as it is here is flat and seems to waist a potentially unique idea as well as its cast.

My Rating: 5 out of 10

Released: September 10, 1985

Runtime: 1Hour 37Minutes

Rated PG

Director: John Irvin

Studio: The Samuel Goldwyn Company

Available: VHS

Pulp (1972)

pulp

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Running for his life.

Michael Caine and director Mike Hodges teamed up again one year after doing the gritty classic Get Carter with this breezy oddity dealing with a pulp fiction writer Mickey King (Caine) who is hired to pen the autobiography of ex-Hollywood star Preston Gilbert (Mickey Rooney) who is now living in exile in Malta. The problem is that Gilbert has ties to the underworld and Mickey soon finds himself running for his life while meeting up with a barrage of oddball characters along the way.

The movie has a wonderfully quirky sense of humor with a few memorable laugh-out-loud sequences especially at the beginning. I got a real kick out of the man with a weak bladder who says a prayer to God to open up a locked bathroom door when he can’t get into it. The scene in the bus where we hear the different thoughts going on inside each of the passenger’s heads is great as well. The opening sequence featuring a row of lady typists writing up King’s latest manuscript is cute, but the one thing that holds it all together is Caine’s wry voice-over narration that remains consistently amusing.

Rooney though manages to steal the whole thing with his hilarious send-up of an aging actor. In fact this may be one of the funniest roles of his entire career. Even the scene showing him shadow boxing in his underwear is engaging although thankfully the camera doesn’t stay on it for too long. I was a bit disappointed that the character didn’t last through the film’s duration, but his death scene is so funny that it almost makes up for it.

It is nice to see Lizabeth Scott in her last film to date and first since 1957 when she was essentially blacklisted from Hollywood purportedly for her lesbian leanings. Although only 50 at the time her aging face looked like she was almost 70 and her deep, raspy voice sounded similar to the demon’s in The Exorcist. I thought she could’ve been given more to do and played a character that was more integral to the story as her screen time is much too brief.

The on-location shooting done on the island nation of Malta is another asset. The sunny weather has a nice exotic feel and the old architecture of the buildings helps give the film a visual distinction. The melodic piano soundtrack is pleasing and I wished it had been heard a little bit more.

The story is full of a lot of unexpected twists and turns that manages to be engaging for a while, but I felt it runs out of steam by the end. During the final 15 minutes I found myself a bit bored and no longer caught up in it. While I do like the scene where the gunmen gets run over by a pick-up and shown from the point-of-view of the driver I still felt that the ending lacked the finesse and quirkiness of the beginning. The offbeat ideas that writer/director Hodges showers into the film become dried up with a finish that lacks any payoff and unfortunately sullies what is otherwise an offbeat gem waiting to be discovered.

My Rating: 6 out of 10

Released: August 4, 1972

Runtime: 1Hour 35Minutes

Rated PG

Director: Mike Hodges

Studio: United Artists

Available: DVD, Amazon Instant Video

Love and Bullets (1979)

love and bullets

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Chuck falls for Jill.

Jackie Pruit (Jill Ireland) the one-time girlfriend of mob boss Joe Bomposa (Rod Steiger) is being marked for death by him as she has the potential to turn states evidence. Undercover cop Charlie Congers (Charles Bronson) is hired to go to Switzerland and nab her before they do so that he can bring her back to the states and allow her to testify for the FBI, but along the way he ends up falling in love with her.

Ireland and Bronson where married in real-life, which is why this is just one of many movies that they did together during the 70’s. The strange thing is that they really don’t seem to have much chemistry. Bronson is much older and has more of a grounded, stoic personality while Ireland, at least here, comes off as ditzy and flighty making it seem more like a father and daughter relationship than two equal adults.  The ditzy behavior of Ireland’s character is not amusing or interesting and eventually becomes annoying making most men want to kill her instead of falling for her. Her character initially wears a wig and gaudy make-up, but Charlie insists that she take it off and when she does he states that she looks much better, but personally I thought she looked better with it on.

For whatever reason the Bronson character does not use a gun and is required to resort to unusual weapons for defense one of them being a standing lamp that he finds in a hotel room. He takes off the top and bottom of it and then uses the middle part as a pipe in which he blows nails through to kill off the bad guys. Initially this seemed like a neat idea, but I found it hard to believe that he would have such good aim and able to hit victims from several yards away. He also makes himself highly conspicuous walking around the busy streets of Zurich carrying a pipe.

Steiger gives another interesting performance. Although his character is the villain Steiger manages to give him depth and a humanistic quality. He speaks with a stutter and wears big glasses making him seem almost like a lovable galoot. The part where he stresses over ordering the hit on Jackie and at the end when he sits alone watching a classic romantic movie and insists that he not be interrupted for any reason are two of his best moments.

The supporting cast is full of familiar faces, but Bradford Dillman and Henry Silva are wasted and Michael V. Gazzo gets killed off too quickly. Paul Koslo has the perfect face for a cold-blooded hit man and it is neat seeing Strother Martin dive into the water because in his younger years before he got into acting he was a gifted diver and almost even made it onto the Olympic team. His death scene is good because it is done from his perspective as he is pushed under water giving the viewer a definite drowning feeling.

The action and story are standard and the scenic wintry landscape of Switzerland can help it only so much. The explosive finale gives it a few points, but the drama is weak and the action is only fair. Nothing real impressive and made for die-hard action fans only.

My Rating: 5 out of 10

Released: September 14, 1979

Runtime: 1Hour 43Minutes

Rated PG

Director: Stuart Rosenberg

Studio: AFD

Available: VHS, DVD (Region 2), Amazon Instant Video

Hennessy (1975)

hennessy

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Blow up the Queen.

This review will be the first in a month long series analyzing movies from the 70’s that starred Rod Steiger. Steiger was an interesting performer with a long and varied career who always brought a unique intensity to all of his roles. He performed in a wide variety of movies from Hollywood pictures to foreign films and from big productions to the low budget as well as going from the leading man to character actor. Every Friday during the month of January I will select films of his that will hopefully be able to spotlight a little bit of all of these.

Today’s film deals with the story of Niall Hennessy (Steiger) an Irishman with ties to the IRA. When his wife and daughter are killed during a riot in Belfast he plots revenge with a plan to blow up the House of Parliament with the Queen Elizabeth inside.

The movie has a great concept, but the execution is a bit lacking. For one thing the police immediately pinpoint Hennessy as the man they are looking for as well as figuring out his plan. How they were so easily able to do this not only seemed a little farfetched, but also sapped a lot of the intrigue and tension out of the story. Having the police come to this conclusion more slowly would have plotted the suspense out longer and been more interesting.

This also opened the door to a few loopholes the biggest one being that they know Hennessy wants to blow up the Parliament so one would expect that the police would have their men staking out the place and on alert to spot Hennessy if he came near the premises, but instead Hennessy is able to go on a guided tour and able to canvas the building unheeded. Another scene later on has Hennessy trapped in an upstairs apartment by the police who have surrounded the building and yet he is somehow able to escape even though it is never shown how.

The scene showing his family getting killed during a bomb attack is not effective. We see the mother and daughter leave a nearby building and then the film cuts away from them and goes back to the fighting in the street only to go back to the two a few minutes later lying in the street motionless. However, there is neither blood on them nor any type of make-up effects to show injury making it look more like two people lying down with their eyes closed. Seeing them actually hit by the bomb and screaming would have been more jarring for the viewer and allowed them to get more emotionally attached to Hennessy’s plight. Also, when Steiger is shown standing over them I was expecting him to let out another one of his patented primal screams much like he famously did in The Pawnbroker, but here he doesn’t and the sequence is quite brief making me wonder why would they hire an actor known for his onscreen intensity and emotionalism if they aren’t going to allow him to do what he does best especially when the scene calls for it.

Steiger for the most part does well with the part although he is surprisingly restrained during most of it. It is a bit of unusual casting given that he wasn’t Irish or a native of the region however, the accent he uses is alright and I kind of got a kick out of the way he runs especially at the end. His biggest obstacle though was his wig. Rod became bald as he aged and instead of just appearing that way in his roles, which he finally did during his later years, he instead wore a variety of wigs for his parts. Some of them were okay and some weren’t and the one used here definitely wasn’t.

Richard Johnson is quite good playing the relentless Inspector Hollis and I liked seeing him with a moustache. The talented Lee Remick appears as Kate Brooke a lady friend to Hennessy who allows him to hide out at her home and although she has a few good lines she is ultimately wasted. Legendary Trevor Howard is wasted as well and only seen briefly as a police commander.

The best part about the movie and the one thing that gives it distinction is the ending when Hennessy goes into the parliament building with a bomb strapped to his body. Actual footage of the Queen is shown and it looks so authentic that many people thought she had been involved in the production, but she really wasn’t. Their ability to crop this footage in with the action is well done and almost seamless and certainly helps to heighten the tension. Seeing a young Prince Charles looking bored with the proceedings and the elaborately decorated interior of the building as well as its many large and majestic hallways and rooms is fun and interesting.

My Rating: 6 out of 10

Released: July 31, 1975

Runtime: 1Hour 43Minutes

Rated PG

Director: Don Sharp

Studio: American International Pictures

Available: Amazon Instant Video

Britannia Hospital (1982)

Britannia hospital 1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: This hospital needs help.

This is another surreal Lindsay Anderson piece that takes many wild forays and yet still manages to come together as a whole in the end. This is as good, as clever, and as pointed as any of his better known stuff. How this got lost in the shuffle is a mystery, but it really deserves a better look.

The plot pertains to a madcap hospital that is in complete disarray. The head surgeon is preoccupied with a ‘mad scientist’ experiment, the staff is threatening to strike, and the rich patients expect preferential treatment. All of this occurs while the Queen is set for a visit. Leonard Rossiter plays the head administrator that tries to keep it all under control.

Of course it’s not really about the hospital at all, but more a satirical look at British society and the arrogance of the upper crust as well as the apathy of the lower one. It shows how very wide apart they are and how the problem is only acerbated by the upper levels refusal to effectively deal with the lower level and their gripes.

The stuffy formalities of the British have never been played out better. At times it even goes for the jugular. Having the Queen and her entourage literally chased through the hospital by an angry mob is the best.

The cast is full of old British pros and all are quite hammy. Rossiter is the jewel. His nervous looking face and body tics have always been funny, but here they come to a hilt.

There are even a few gory segments that could satisfy almost any horror fan. In particular is Professor Millar (Graham Crowden). The scene where he cuts up a human brain, sticks it in a blender, and then has a cameraman drink it up like a milkshake, is outrageously funny.

The ending is a surprisingly sobering with a profound speech that deals not only with the inevitable advent of technology, but also the complexities of society’s problems, and the minimalism of our existence. Overall it’s not bad.

My Rating: 7 out of 10

Released: May 27, 1982

Runtime: 1Hour 56Minutes

Rated R

Director: Lindsay Anderson

Studio: EMI Films

Available: VHS, DVD, Amazon Instant Video