"Ghostwatch" was a controversial British horror "mockumentary" which was produced by the BBC and aired on October 31st 1992. It was written by Stephen Volk and produced by Ruth Baumgarten. It was a milestone in UK broadcasting due to the reaction it provoked from the public, who failed to grasp that it was a drama. It raised serious questions about responsible programming and has never been shown since. It still provokes a strong reaction when discussed and is a example of the power of television and clear indication of the publics inherent belief in the supernatural.

The 90 minute film is shot in a documentary style and appeared as part of BBC Drama's Screen One series. While it is often referred to, incorrectly, as a hoax, it is more accurate to call it a "mockumentary". Presented as a precursor to the reality show, it involved BBC reporters performing a live, on-air investigation of a house in Northolt, Greater London at which poltergeist activity was believed to be taking place. Through video footage and interviews with residents and neighbours, they discover the existence of a malevolent ghost nicknamed "Pipes", due to his habit of knocking the internal plumbing. As the programme unfolds, viewers learn that "Pipes" is the spirit of a psychologically disturbed man called Raymond Tunstill, who believed to have been possessed by the spirit of a child killer from the 19th century. These manifestations became more intense and terrifying, until, at the end, the frightened reporters realise that the programme itself is acting as a focus for a "national séance" through which "Pipes" was gaining horrific power. Finally, the spirit begins to escalate its poltergeist activity in the BBC studios themselves.

Where "Ghostwatch" succeeds is through the use of known and trusted television personalities. Michael Parkinson, and married couple Mike Smith and Sarah Greene brought credibility and professionalism to the proceedings. The "Crimewatch" style format, with telephone phone in and hand held cameras is oddly prophetic of UK Livings "Most Haunted" which became successful 10 years later. But what the program demonstrated most of all, was the way the public assumed the show was genuine. Despite the addition of brief credits by the BBC at the start of the broadcast, viewers watched events unfold over 90 minutes and only began to question the authenticity of them until the final 10. It also highlighted the universal interest in the supernatural in the UK.

16 years on "Ghostwatch" is still quite disturbing. It unfolds in a leisurely way and then halfway there is a bluff which indicates the the investigation at the house may be a hoax, but this plot device superbly allows for a second assault on our senses. On second viewing it betrays it's roots with references to Nigel Kneale and Orson Welles broadcast of "War Of The Worlds". It is also fun to keep an eye out for all 7 appearances on screen by "Pipes". "Ghostwatch" is a prime example of the power of television. Although similar themes have been tackled in films such as "Cannibal Holocaust" and "The Blair Witch project", it is the immediacy and intimacy of TV that makes this production so successful.

XoD.

"The Stone Tape" is a television play directed by Peter Sasdy and starring Michael Bryant, Jane Asher, Michael Bates and Iain Cuthbertson. It was broadcast on BBC Two at Christmas 1972. Combining aspects of science fiction and horror, the story concerns a team of research scientists who move into their new facility, a renovated Victorian mansion that is allegedly haunted. Investigating, they learn that the haunting is a recording of a past event held within the very fabric of the structure. Believing that this may be the key to the development of a new recording medium, they throw all their expertise technology into learning how the stones preserves its recording. However, their investigations lead to more sinister and tragic events.

"The Stone Tape" was written by Nigel Kneale, best known as the writer of "Quatermass". Its juxtaposition of science and superstition is a common theme in Kneale's work; in particular, his 1952 radio play "You Must Listen", about a haunted telephone line. The play was also influenced by a visit Kneale paid to the BBC's research and development department, which was based in an old Victorian house in Kingswood, Surrey. Critically acclaimed at time, it remains well regarded to this day as one of Kneale's best and most disturbing works. Since its broadcast, the hypothesis of residual haunting, that ghosts are recordings of past events made by the natural environment, has come to be known as the “Stone Tape Theory”.

36 years on "The Stone Tape" has dated superficially. It's production design and soundtrack reflect 70's pop culture. The imperialist attitudes displayed along with the lead male characters inherent misogyny seem archaic now. yet the plot themes and scientific premise are very contemporary. The lack of visual effects actually enhances the atmosphere of tension and unease. This play was obviously an influence on such films as John carpenters "Prince Of Darkness" and Tobe Hooper's "Poltergeist". An example of Nigel Kneale's best work and a true genre milestone.

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When "The Asphyx" was released in 1973, "The Exorcist" was about to redefine the horror movie forever. It moved the genre away from the subtle, literate and low budget and into the realm of the blockbuster. Special FXs and shock were to prove more bankable. That's why "The Asphyx" was a box-office flop, fondly remembered by a few as a "thinking man's horror film". Since its release this film has been seldom seen on television and has been poorly treated on DVD.

The plot is simple but intriguing. A 19th century British philanthropist and amateur psychic researcher embarks on a fateful quest for immortality. Sir Hugo Cunningham (nicely played by Robert Stephens) has experimented with taking photographs of dying people, leading to his discovery of a nebulous spirit of the dead, known in mythology as the Asphyx. It appears (only visible on photographic plates) at the moment of death. Sir Hugo becomes obsessed with capturing his own Asphyx and thus ensuring his immortality, so he can pursue a life of science. However, this enterprise puts does not progress as Sir Hugo expects and there are consequences for him and his family.

With its verbose, literate script, well defined characters, and fascinating themes, "The Asphyx" is the epitome of the style and substance approach that became passé in the early to mid-1970s. The chills are subtle but effective under the direction of Peter Newbrook, and the widescreen cinematography by Freddie Young adds polish and elegance to the proceedings. Filled with foreboding atmosphere and an accurate period production design, this is an intelligently conceived horror film that relies more on story than shocks. There is little violence and the only FXs are those of the screaming Asphyx as Sir Hugo attempts to capture it.

The current UK DVD release is in the wrong aspect ratio and is minus some footage. However, the deleted US release is uncut and correctly framed. The plot and themes of this film reflect the thinking of certain psychic researchers of this time. Vaguely similar themes were used in the film "Flatliners", however, one cannot compare the two in any other fashion. "The Asphyx" is recommended for more cerebral viewer.

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Roger Moore has always been accused of being an actor of limited range. This cinematic curiosity from 1970 proves otherwise and is considered by some to be his best performance. Made immediately after "The Saint" TV series, it afforded its star an opportunity to tackle a character who is rather puritanical, potentially impotent and in every way the complete opposite of Simon Templar and James Bond.

The story begins with executive Harold Pelham driving home from work, when he uncharacteristically starts to drive dangerously. After crashing he is taken to hospital where his heart stops during the operation. Once resuscitated, there are two heart beats briefly showing on the monitor. Returning home, Pelham finds his life has been turned upside down. In his job as a director of a marine technology company he learns that he now supports a merger that he once opposed, and that he apparently is having an affair. Friends, colleagues and acquaintances claim they have seen him in places that he has never been? Does Pelham have a doppelganger, or is he actually going insane?

Director Basil Dearden had prior experience in handling tense supernatural tales, having directed segments for the classic "Dead Of Night". He handles the unfolding story in "The Man Who Haunted Himself" in a very competent fashion. The tension slowly builds and there is growing sense of unquiet rather than sudden shocks. The end is somewhat ambiguous and is open to several interpretations. This is an intriguing character study, with solid performances. Definitely a product of the times and may not necessarily appeal to those with little patience. However for genre fans and discerning movie viewers, this is a rewarding 90 minutes.

XoD.

Timothy Dalton was the most serious and technically accomplished actor to have played Bond. He was in fact asked by Cubby Broccoli to play Bond in 1969 after Connery's departure. However, Dalton felt he was too young for the job at the time. After Roger Moore retired from the role in 1985 it looked like Pierce Brosnan was certain to get the part. But due to contractual reasons, he was not available at the time of the proposed shooting schedule. So Dalton landed what was at the time, the most most prestigious action role there was.

By 1987 there had been a major shift in the production of action movies. The spy genre was in decline. "Cop Buddy" films were popular and relying more on the action element for appeal. The action heroe was being transformed by such films as "Lethal Weapon", "Die Hard" and "Rambo". The expensive and complex action sequences that for over a decade had been the exclusive province of the Bond franchise, were now common place. The competition was heating up and Bond needed to modernise and shake off some of the more archaic aspects of his heritage.

Director John Glenn decided to use Daltons acting skills as an oppurtunity to go back to basics. Out went the one liners to soft pedal the violence. The charm was maintained but a ruthless and somewhat cold edge was introduced. The plot became more credible and the female lead was developed to be more than just window dressing. This was the 80's and there was an opinion that Bonds excessive sexual habits were somehwat at odds with a world confronting AIDS.

"The Living Daylights" is therefore a revisonist entry into the series. It stands out with "On Her Majesties Secret Service" and "For Your Eyes Only" as being closer to the Bond of Fleming's novels. It has some good action sequences and the hand to hand fights are gritty and tough. This is the first film where Bond head butts an opponent. There is less reliance on the gadgets of "Q" branch.

It also marks the last soundtrack in the franchise to be scored by the great John Barry. He had up until this point written the soundtrack for 11 of the Bond films. The title song by "A-ha" (Co-written by Barry) works very well as a signature theme throughout the film. Note the cues for Bonds roof top escape and the Hercules departure and airfield battle. There is also two songs by "The Pretenders" that Barry works into both the romantic and action scenes. The "Mujahadin" cue stands out as one of Barry's finest work.

The effects work is exceptional. John Richardson does wonders with miniatures and produces a for ground miniature of that fools most viewers. The stunt work, particularly the aerial sequences featuring stuntmen BJ Worth and Jake Lombard still impress 21 years on. Once again this proves in my opinion, the superiority of physical effects and stunts over CGI.

"The Living Daylights" despite the changing times and public taste, still performed well at the box office. The new bond met mixed reception, but by and large, the critics were impressed with the way Dalton handled the role. However, the producers were becoming increasingly concerned about the future of the franchise and the decided to tackle the competion head on for the next entry. In a way "The Living Daylights" was possibly a little too advanced and radical change. It feels more acceptable and plausible now, than it did to some back in 1987. I would recommend it not only to Bond fans, but to those with just a broader interst in quality action films.

XoD.

"Rivers Of Blood", a documentary by Denys Blakeway, was shown on Saturday at 21:00 on BBC2, as part of the on going "White" season. It looked in depth at the career of Conservative MP Enoch Powell and the impact and fallout of his infamous 1968 "Rivers Of Blood" speech.

Despite often being quoted, the context and meaning of the speech have frequently been misinterpreted and misunderstood. Powell, an intelligent and logical man was far from just a sensationalist scaremonger. This documentary did much to show the weight of support his views gained among the working man. It also showed as a consequence, how he inadvertently aided the implementation of a policy of multiculturalism.

As the UK currently agonises over a perceived crisis of immigration, integration and difference of culture, this documentary made an informed and well balanced analysis. Are the politicians fear of open debate on these diificult issues yet again, and indication that the matter has not been resolved? Does Powell's stance still have relevance?

I would urge anyone with a curious mind and an opinion of this matter to view this program. It will be available for a week via BBC I-Player. I'm sure it will be found on various "torrent" listings. In these times of "content management" and political bias, I have seldom seen such a good piece of journalism.

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In 1951 Hungarian-born Cornel Wilde became only the second actor,after Burt Lancaster,to form his own production company. Theodora Pictures was the natural step for the actor tired of the studio system. A travelled man, proficient in six languages, he considered the two-dimensional heroism of Hollywood an insult to audiences and he determined to make movies about characters with more substance and stories that challenged, rather than preached

The "Naked Prey" was first conceived to tell the story of John Colter, a trapper with the Lewis and Clarke expedition who, in 1809, survived an altercation with Blackfoot Indians in Wyoming by outrunning them into the wilderness after being stripped naked. When Wilde became aware of substantial co-production funds available in South Africa, he and screenwriters Clint Johnston and Don Peters reworked the story into an allegory set in the veldt's of South African Zulu country. A controversial move that superficially seemed to simply benefit from the apartheid system. However, the resulting film, and it's use of indigenous black actors and the whole treatment of black African culture is far from exploitative.

Wilde plays a safari guide anticipating retirement after one last expedition, which becomes a nightmare when his elephant-hunting client (Gert van den Bergh) refuses, despite his warnings, to comply to a Zulu warrior's (Ken Gampu) demand for tribute, an irrevocable insult to his status and that of his tribesmen. The expedition camp is promptly attacked, its members brutally yet creatively slain. This leaves only the 54-year-old Wilde to be stripped naked and chased into the bush where, he must elude wild animals and his vengeful pursuers until he finds his way back to "civilisation". Because the Nguni dialect of the tribe isn't subtitled, we, like the hero, fail to understand all the considerations governing this "trial by ordeal". Wilde's is in mortal danger, but because he had argued in favour of paying tribute, the tribesmen have afforded him the honour of proving himself their equal as a warrior.

"The Naked Prey" is an important chapter in the history of independent US film-making. It is too often conveniently excluded from cinematic history on several counts: its pulp-style adventure, its plainspoken directorial style, its scarcity and lack of characterisation through dialogue, its stock footage of animal death, the bleak way it was marketed (see one of the original film posters below) and its predilection for wilful misinterpretation. This engrossing adventure is a serious statement on the nature of "civilisation" and a plea for racial understanding. But the prevailing political attitudes in 1966 (at least in the US) chose not to see this and simply took it to be an exploitation film.

Wilde's keen anthropological eye is understanding of the Zulu people and to the nature of power and alpha male status. Yet, the introduction of a female character, a young girl whose village is enslaved, counter balances the male-centric narrative. Their ensuing friendship, despite a language barrier, remains affectionate and dignified. The South African locations themselves become an additional protagonist that proves hostile to all parties. During the end credits Wilde's character is identified simply as 'The Man' meant either as a sign of respect in the face of nature or to portray as an "everyman" in this candid and straight forward metaphor.

If you have an open mind and are not swayed by the propaganda that has dogged this film, you will find a rewarding and powerful piece of cinema. Films like this are not made any more. At least not in Hollywood. You may also see the clear influence this film had on Ruggero Deodato's 1980 exploitation piece, "Cannibal Holocaust". It is also worth considering what the reception of this film would have been, if it had stuck closer to the source story and had been a traditional western. In these revisionist times, may be there is a chance to put that right.

XoD.

I initially reviewed "Hitman" on 10.02.08. I watched it again today, only this time it was the unrated R1 print. The additional scenes are all of extra violence, deemed too strong for the "R" rated US theatrical release. I have checked on the BBFC website and it would appear that there will be two UK DVD releases. One is going to be the same as the "15" rated cinema release.The other being the harder hitting version of the film, yet surprsingly still rated "15".
The additional material is as follows:

1.) During the interrogation scene based in Niger, the evil overlord Ovie cuts one of the arms off his chained up prisoner.

2.) There is more detail to President Mikhail Belicoff head shot.

3.) When Agent 47 escapes via the lift shaft, you get to see the death of all the special forces operatives he shoots in the lift. These are all gun shots to the head.

4.) When Nika Boronina recalls her maltreatment by President Mikhail Belicoff, there is a flashback to him whipping her naked body.

5.) During the climatic shoot out between Agent 47 and the Russian forces, as he drags the President to the church tower, there are a lot more bullet hits and exit wounds shown.

6.) When Agent 47 fights the other "Hitman" dressed as a monk, he rips his ear off, accounting for the excess of blood on the side of the assailants face.

This additional footage does not in any way impact on the story or the plot development. It simply improves the existing action scenes and makes them a little more fluid. Being a completeist, I always endeavour to see alternative versions of films. They do not always improve or refine, but on this occassion it does no harm.

XoD.