Hear My Song
A key film of the British New Wave Saturday Night And Sunday Morning was a great box-office success - audiences were thrilled by its anti-establishment energy the gritty realism of its setting and most of all by a working-class hero of a fresh and outspoken kind. Based on Alan Sillitoe's largely autobiographical novel the film is set in the grim industrial streets and factories of Nottingham where Arthur Seaton spends his days at a factory bench his Saturday evenings in the local pubs and his Saturday nights with Brenda (Rachel Roberts) wife of a fellow factory worker. Played by Albert Finney with an irresistable animal vitality Arthur is anti-authority (Don't let the bastards grind you down) and unashamedly amoral (What I'm out for is a good time. All the rest is propoganda). With powerful central performances cracking dialogue by Sillitoe and a superb jazz score by Johnny Dankworth Saturday Night And Sunday Morning still stands as a vibrant modern classic.
What's it all about, Alfie?" asked the hit Burt Bacharach/Hal David title song, to which the less philosophical answer might be: an amoral young man comically seducing a succession of beautiful women in swinging-sixties London. Michael Caine was the titular anti-hero, here consolidating his new star status from Zulu (1964) and The Ipcress File (1965), his conquests including Shelley Winters, Jane Asher and Shirley Ann Field. Alfie was a huge success, bringing a new frankness about changing sexual attitudes to the screen, in which respect it was almost the male companion to Julie Christie's then shocking, Oscar-winning performance in Darling (1965). It was also a sort-of contemporary Tom Jones, which had swept the Oscars for 1963, however, Alfie was not only better made, but in Michael Caine's guilelessly amoral asides to camera, offered a groundbreaking illustration of a newly self-conscious cinema. It is a technique Caine would reprise as the middle-aged philanderer in Blame It On Rio (1983). With Blow Up also released in 1966, and Ken Russell's Women In Love following in 1969, British film-making was truly in the midst of a sexual revolution. Michael Caine would reunite with director Lewis Gilbert and meet his female match in Educating Rita (1983). --Gary S. Dalkin
A cult classic British film about late-fifties youth rebellion set against an intoxicating Beatnik backdrop. When divorced architect Paul (David Farrar) marries Parisian Nichole (NoÃ«lle Adam), his teenage daughter, Jennifer (Gillian Hills), is less than pleased, and throws herself into the London beatnik scene and a music-fuelled life of juvenile delinquency. When she discovers that Nichole's past holds a dark secret, she uses this knowledge to shame her stepmother and embarrass her father. With an all-star cast including David Farrar (Black Narcissus, The Small Back Room), Shirley Anne Field (Saturday Night and Sunday Morning, Peeping Tom), Christopher Lee (Lord of the Rings, Dracula) and a young Oliver Reed (Women in Love, Oliver!), Beat Girl is notable for its original music by composer John Barry, his first ever film commission, and the acting debuts of teen idol Adam Faith and actress Gillian Hills (Blowup, A Clockwork Orange, The Owl Service).
Everyone knows her name - but few know her story. Fifty years ago the publication of D.H. Lawrence's scandalous novel led to one of the most celebrated obscenity trials of the 20th century. To mark that occasion we present acclaimed director Ken Russell's powerful film version which brings this vivid and extraordinary tale to life. Joely Richardson stars as Lady Chatterley wife to the emotionally and physically paralysed Sir Clifford in a post-war England which finds itself on the cusp of change. The old ways and class divisions have begun to crumble as the bulk of a nation's youth fell in the trenches leaving a downtrodden but emboldened few. As Lady Chatterley bereft of her husband's attention finds a re-awakening in the arms of a working man more is at stake than honour and more is at risk than marriage in this dramatic and passionate re-telling of Lawrence's now classic tale.
The brutality of modern society is fast encroaching on the picturesque seaside town of Weymouth. American tourist Simon Wells (Macdonald Carey) is looking for a relaxing holiday but he is mugged by the psychopathic King (Oliver Reed) and his gang of thugs. Wells escapes with Kings sister, Joanie (Shirley Anne Field), and they stumble upon a sinister establishment where nine ice-cold children are being subjected to a horrifying experiment. The shadowy authorities control of the base will stop at nothing to safeguard their secret, but it is the mysterious children who will doom them all... Special Features: Photo Gallery 24-page illustrated booklet This Official UK DVD is Region 2,4,5
Michael Gough gives a gloriously overwrought performance in this notorious 1959 horror feature. A box-office triumph, it was shot at Merton Park Studios in the relatively new CinemaScope format and presented with the additional gimmick of 'HypnoVista'. Horrors of the Black Museum was the first in what has been dubbed Anglo-Amalgamated's 'Sadian trilogy' (with Circus of Horrors and Peeping Tom), in which the keynote is sensationalistic, sexually charged violence. It is featured here in a brand...
Four classic Hammer chillers presented on Blu-ray for the very first time in the UK. Accompanied by a wealth of new and archival extras including exclusive new documentaries, audio commentaries, alternative versions, new and archival cast and crew interviews, a series of appreciations of their female stars, analyses of their composers' scores, and extensive booklets this stunning limited edition box set is strictly limited to 6,000 units. Extras: INDICATOR LIMITED BLU-RAY EDITION BOX SET SPECIAL FEATURES: THE REVENGE OF FRANKENSTEIN New 4K restoration Original mono audio New and exclusive documentary about the film, produced by Hammer expert Marcus Hearn (2019) Audio commentary by celebrated horror and fantasy authors Stephen Jones and Kim Newman (2019) A Frankenstein for the 20th Century (2019): video essay by film historian Kat Ellinger and Dima Ballin Hammer's Women Eunice Gayson (2019): profile of the Hammer star by critic and film historian Pamela Hutchinson David Huckvale on Leonard Salzedo (2019): new appreciation of the renowned composer by the author of Hammer Film Scores and the Musical Avant-Garde Super 8 version: original cut-down home cinema presentation Original theatrical trailer Trailer commentary (2013): short critical appreciation by filmmaker Joe Dante Image gallery: on-set and promotional photography New and improved English subtitles for the deaf and hard-of-hearing Limited edition box set exclusive booklet with new essays by Marcus Hearn and Kieran Foster, archival interview materials, historical articles, contemporary reviews, and film credits UK premiere on Blu-ray THE TWO FACES OF DR. JEKYLL High Definition remaster Original mono audio New and exclusive documentary about the film, produced by Hammer expert Marcus Hearn (2019) Audio commentary by film historians Josephine Botting and Jonathan Rigby (2019) Interview with Paul Massie (1967): rare archival audio interview with the film's star Hammer's Women Dawn Addams (2019): British cinema expert Laura Mayne explores the life and career of the UK-born star David Huckvale on Monty Norman (2019): new appreciation of the renowned composer Original theatrical trailer Trailer commentary (2013): short critical appreciation by Josh Olson Image gallery: on-set and promotional photography New and improved English subtitles for the deaf and hard-of-hearing Limited edition box set exclusive booklet with a new essay by Kat Ellinger, archival interview materials, historical articles, contemporary reviews and film credits UK premiere on Blu-ray TASTE OF FEAR High Definition remaster Original mono audio Alternative presentation with US Scream of Fear title sequence New and exclusive documentary about the film, produced by Hammer expert Marcus Hearn (2019) Audio commentary with Kevin Lyons, editor of The Encyclopedia of Fantastic Film and Television (2019) The BFI Interview with Jimmy Sangster (2008): archival audio recording of the celebrated filmmaker and screenwriter in conversation with Marcus Hearn at London's National Film Theatre The BEHP Video interview with Jimmy Sangster (2008): archival video recording, made as part of the British Entertainment History Project, featuring Sangster in conversation with Jonathan Rigby The BEHP Interview with Douglas Slocombe Part Two (1988): archival audio recording, made as part of the British Entertainment History Project, featuring the renowned cinematographer in conversation with Sidney Cole Fear Makers (2019): interviews with camera operator Desmond Davis, assistant editor John Crome and clapper loader Ray Andrew Hammer's Women Ann Todd (2019): Melanie Williams, author of Female Stars of British Cinema profiles the English star and producer David Huckvale on Clifton Parker (2019): new appreciation of the renowned composer Super 8 version of Scream of Fear: original cut-down home cinema presentation Original theatrical trailer Trailer commentary (2013): short critical appreciation by Samm Hamm Image gallery: on-set and promotional photography New and improved English subtitles for the deaf and hard-of-hearing Limited edition box set exclusive booklet with an essay by Marcus Hearn, archival interview materials, historical articles, contemporary reviews and film credits UK premiere on Blu-ray THE DAMNED: New 2K restoration Original mono audio Two presentations of the film: The Damned, the original UK theatrical release version; and These Are the Damned, the complete and uncut restoration which first premiered in 2007 New and exclusive documentary about the film, produced by Hammer expert Marcus Hearn (2019) Audio commentary by film historians Samm Deighan and Kat Ellinger (2019) Beneath the Surface (2019): new interview with filmmaker Gavrik Losey, son of director Joseph Losey Interview with actor Shirley Anne Field (2019) Interview with screenwriter Evan Jones (2010) Children of 'The Damned' (2019): new interviews with actors Kit Williams, David Palmer and Christopher Witty Hammer's Women Viveca Lindfors (2019): profile of the renowned actor by critic and film historian Lindsay Hallam David Huckvale on James Bernard (2019): new appreciation of the celebrated composer Beyond Black Leather (2019): appreciation by film expert I Q Hunter No Future (2019): analysis by author and film historian Neil Sinyard Original theatrical trailer Trailer commentary (2013): a short critical appreciation by filmmaker Joe Dante Image gallery: on-set and promotional photography New and improved English subtitles for the deaf and hard-of-hearing Limited edition box set exclusive booklet with a new essay by Richard Combs, archival interview materials, historical articles, contemporary reviews and film credits UK premiere on Blu-ray Limited edition box set of 6,000 numbered units All extras subject to change
Stationed in England during World War II Buzz Rickson (McQueen) is the bravest Air Force pilot in his squadron and the most reckless. His maniacal quest for thrills takes him to the brink of destruction during the B-17 bombing raids on Germany. But while Buzz's daredevil heroics win the grudging respect of his crew his rebellious attitude alienates everyone except his co-pilot Ed Bolland (Robert Wagner)...
British film icon Kenneth More stars opposite Shirley Anne Field and Michael Hordern in this madcap sci-fi satire from director Basil Dearden. Scripted by Oscar nominees Michael Relph and Bryan Forbes, Man in the Moon is featured here in a brand-new transfer from the original film elements in its as-exhibited aspect ratio. William Blood is Mr Normal, yet he's also rather strange: his immunity to illness and inability to worry enable him to make a living as a human guinea pig. A team of 'NASTI' scientists have an extraordinary mission lined up for William, however rather than risk the lives of highly trained astronauts (or test animals!), they want to send him to the Moon... SPECIAL FEATURES: Image gallery Original pressbook PDF Original theatrical trailer
A spoof sci-fi story in which blue comedian Roy Chubby Brown is kidnapped by two female aliens and taken aboard a spacecraft where he is found guilty of moral turpitude. His sentence - he will become pregnant every year for the next thirty years...
This movie, that made Albert Finney a star, is a UK cinematic gem. At the time of release it hit the audience like a bombshell due to its frank portrayal of life, sex and double standards in the late 1950's. It tells the story of Arthur (Finney) a factory worker who is seeing two women at the same time. When one of them falls pregnant he finds himself having to choose...It was the first of the cinematic 'kitchen sink drama's' of the 1960's and was a huge box office hit. This film has been unavailable for almost three years. This version is restored and remastered with new extra's including interviews with Albert Finney and Shirley Anne Field. This will be the definitive release of this classic of British cinema.
In this inventive and gripping drama written by John Mortimer (Rumpole of the Bailey) and directed by James Hill (Black Beauty Born Free) Shirley Anne Field (Saturday Night and Sunday Morning Alfie) gives an unforgettable fiery performance as a young designer on the brink of an affair with a married male executive (Robert Stephens – The Shout Comrades). With its tightly-focused plot telling the story of an illicit rendezvous in real time Lunch Hour is presented here in a stunning digitally remastered transfer and is accompanied by a selection of director James Hill’s colourful and award-winning short films. Extras: Skyhook (1958 17 mins): the adventure of oil exploration deep in the tropics of Papua New Guinea Giuseppina (1959 32 mins): a young girl observes different characters at her father’s rural petrol station The Home-Made Car (1963 28 mins): a man restores his dilapidated car as a curious young neighbour watches
Michael Powell lays bare the cinema's dark voyeuristic underside in this disturbing 1960 psychodrama thriller. Handsome young Carl Boehm is Mark Lewis, a shy, socially clumsy young man shaped by the psychic scars of an emotionally abusive parent, in this case a psychologist father (the director in a perverse cameo) who subjected his son to nightmarish experiments in fear and recorded every interaction with a movie camera. Now Mark continues his father's work, sadistically killing young women with a phallic-like blade attached to his movie camera and filming their final, terrified moments for his definitive documentary on fear. Set in contemporary London, which Powell evokes in a lush, colourful seediness, this film presents Mark as much victim as villain and implicates the audience in his scopophilic activities as we become the spectators to his snuff film screenings. Comparisons to Hitchcock's Psycho, released the same year, are inevitable. Powell's film was reviled upon release, and it practically destroyed his career, ironic in light of the acclaim and success that greeted Psycho, but Powell's picture hit a little too close to home with its urban setting, full colour photography, documentary techniques and especially its uneasy connections between sex, violence and the cinema. We can thank Martin Scorsese for sponsoring its 1979 re-release, which presented the complete, uncut version to appreciative audiences for the first time. This powerfully perverse film was years ahead of its time and remains one of the most disturbing and psychologically complex horror films ever made. --Sean Axmaker, Amazon.com
Alfie is not really a bad sort. It's just that he has this overwhelming desire for the opposite sex. You might say that birds' are irresistible to him, sort of second nature. With Michael Caine in the title role, Alfie is a ribald and wild comedy, filled with sex and sin. For those who want to be entertained, Alfie is charming, delightful and quick moving. For those who want more, there is, beneath the surface, a lingering tragedy, simply and poignantly told about the taker and the taken. Extras:Theatrical Trailer
In case you'd forgotten, My Beautiful Laundrette will remind you of those mid-80s days when Thatcherism ruled the earth (or so it seemed) and money was king. Stephen Frears' low-budget realisation of Hanif Kureishi's subversively critical play captures the contradictions of that time in a way that's as fresh today as when it was new. Omar's wheeler-dealer uncle, Nasser (Saeed Jaffrey), sums it up when he says, "In this damn country, which we hate and love, you can get anything you want". He sets up Omar (Gordon Warnecke) with a rundown laundrette and the instruction to make it a success, which Omar temporarily does, with the help of his childhood friend Johnny (Daniel Day-Lewis). When the film first came out, it was the gay content that dominated the column inches, whereas now it seems a sensitive and multi-faceted summation of its decade, exploring social, ethnic and sexual issues and contradictions. Bringing together two such different characters as Omar--Asian, ambitious, for whom success is defined by wealth--and former childhood friend Johnny--white trash, ex-National Front--was inspired. Watching their friendship develop into love, and the ensuing bitterness and misunderstanding that they suffer from friends and family is very poignant. All the lead roles are well taken, the contradictory character of Nasser in particular. By turns, funny, touching and anger-inducing, this is a movie that wears its age lightly and its era proudly. On the DVD: the picture is in 4:3 ratio with a Dolby Digital soundtrack. There's an original trailer and filmographies of the four main characters, with an additional biography for Day-Lewis. --Harriet Smith
Shirley Anne Field gives a fiery performance as a young designer on the brink of starting an affair with a married male supervisor (Robert Stephens) at the wallpaper factory where she works. Based on the play by acclaimed writer John Mortimer (Rumpole of the Bailey) Lunch Hour is directed by James Hill (Black Beauty Born Free). With its tightly-focused plot and 'real-time' narrative this stylish examination of an illicit lunch-hour rendezvous features an underlying sexual radicalism that tells us much about the time in which it was made. Also presented here are three of James Hill's critically acclaimed and fondly remembered short films all of which have more recently garnered an appreciative fan-base amongst enthusiasts of so-called Trade Test films (which were broadcast to test the then-new colour transmission system by BBC TV engineers during the 60s and 70s).
The Entertainer of the title is Archie Rice, a mediocre music hall artist upholding a dying tradition in an English seaside against a background of the 1956 Suez Crisis. Laurence Olivier stars and is supported by a superb cast including a young Alan Bates as his son, Roger Livesey as his kindly, now retired, always more talented and popular father, and Joan Plowright as his daughter (who, ironically given the story, married Olivier the following year). Albert Finney makes his screen debut in a tiny role and the remarkable cast also features Daniel Massey, Shirley Anne Field, Thora Hird and Charles Gray. Archie himself is a hollow man who brings pain to all around him, and while Olivier's brilliant performance reveals the layers of cynicism which disguise the emptiness inside, the emotional resonance lies with those forced to endure Rice's manipulations, adulteries and deceits. On stage John Osborne's play proved to be a signature part for Olivier, and director Tony Richardson--who filmed Osborne's equally sour Look Back In Anger (1958)--handles the material with unvarnished realism. Unfolding like a dark variation on Chaplin's Limelight (1952), the film equally casts a shadow over the less stellar Tony Hancock vehicle The Punch and Judy Man (1963), ultimately working as both family tragedy and allegory for a declining post-war England. Surprisingly an American 1976 TV movie remake starring Jack Lemmon held its own against this minor British classic. On the DVD: The Entertainer is presented letterboxed at 1.66:1, and sourced from an excellent print preserves the look of the original black and white cinematography very well. Even so a little material is clipped from either side of the image, though this is most notable on the left of the picture. The mono sound is very good. There are no features other than optional subtitles, including English for those hard of hearing. --Gary S Dalkin
More comical situations at St. Swithins Hospital when Dr. Grimsdyke returns for a course and develops a rejuvenating drug...
Zulu The year: 1879. The place: Natal Africa. One British garrison has already fallen to a huge army of Zulu tribesmen. The fearless native warriors are now heading for the isolated colonial outpost of Rorke's Drift which is manned by no more than a hundred South Wales Borderers. Alfie Alfie is a good-looking charmer who finds that the Swinging Sixties are a great time to be around in. He's always able to sweet-talk women into bed and he just doesn't care about t
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