Film Review – THE BRIDE OF FRANKENSTEIN (1935)

BRIDE OF FRANKENSTEIN (1935, USA) *****
Horror, Sci-Fi

dist. Universal Pictures; pr co. Universal Pictures; d. James Whale; w. William Hurlbut (adapted by William Hurlbut and John L. Balderston and suggested by the original story written in 1816 by Mary Shelley); pr. Carl Laemmle Jr.; ph. John J. Mescall (B&W. 35mm. Spherical. 1.37:1); m. Franz Waxman; ed. Ted J. Kent; ad. Charles D. Hall; cos. Vera West (uncredited); m/up. Jack P. Pierce, Irma Kusely (both uncredited); sd. Gilbert Kurland (Mono (Noiseless Western Electric Recording)); sfx. Ken Strickfaden; vfx. John P. Fulton; rel. 19 April 1935 (USA), 27 June 1935 (UK); cert: PG; r/t. 75m.

cast: Boris Karloff (The Monster), Colin Clive (Henry Frankenstein), Valerie Hobson (Elizabeth), Ernest Thesiger (Doctor Pretorius), Elsa Lanchester (Mary Wollstonecraft Shelley / The Monster’s Mate), Gavin Gordon (Lord Byron), Douglas Walton (Percy Bysshe Shelley), Una O’Connor (Minnie), E.E. Clive (Burgomaster), Lucien Prival (Butler), O.P. Heggie (Hermit), Dwight Frye (Karl), Reginald Barlow (Hans), Mary Gordon (Hans’ Wife), Anne Darling (Shepherdess), Ted Billings (Ludwig).

In this sequel to Universal’s classic 1931 FRANKENSTEIN, Mary Shelley reveals the main characters of her novel survived. After recovering from injuries sustained in the mob attack upon himself and his creation, Dr. Frankenstein (Clive) falls under the control of his former mentor, Dr. Pretorius (Thesiger), who insists the now-chastened doctor resume his experiments in creating new life. Meanwhile, the Monster (Karloff) remains on the run from those who wish to destroy him without understanding that his intentions are generally good despite his lack of socialization and self-control. Whale brings in elements of wit and the macabre thereby opening out the story. Notable amongst these new elements is the addition of Thesiger’s Dr. Pretorius. Bizarre, sinsiter and camp in equal measures Thesiger is unforgettable and provides a much needed offset to Clive’s more melodramatic turn as Frankenstein. Karloff returns as the monster and is given the added power of speech following his meeting with a blind hermit (Heggie) in a scene that adds both pathos and humour. The film comes into its own in the climax laboratory scene with Thesiger and Clive bringing Lanchester’s “bride” for the monster to life. The sequence is technically superb with its use of light and shadow, obtuse camera angles and rapid editing. The sequence shows what a true artist Whale was. The gothic set design, innovative creature make-up and dynamic photography are all top draw. Whilst some of the performances may come across as hammy, you must remember this is the early days of the talkies and a certain staginess is inevitable. The look and atmosphere are unforgettable and the film has come to be rightly regarded as a classic of the genre. Clive broke a leg in a horse riding accident. Consequently, many of his scenes were shot with him sitting. John Carradine is one of the two hunters that appear at the hermit’s cabin proclaiming the hermit’s guest is in fact the monster. Followed by SON OF FRANKENSTEIN (1939) and remade as THE BRIDE (1985).

AAN: Best Sound, Recording (Gilbert Kurland)

Two new Sky series recall earlier classic British TV with differing results

Intergalactic (2021, UK, Episodes 1-4) **½
Fearless young cop and galactic pilot, Ash Harper (Savannah Steyn), who has her glittering career ripped away from her after being wrongly convicted of a treasonous crime and exiled to a distant prison colony. But on the way there, Ash’s fellow convicts stage a mutiny and seize control of their prison transfer ship.
Mare of Easttown (2021, USA, Episodes 1-3) *****
As her life crumbles around her, a small-town Pennsylvania detective Mare Sheehan (Kate Winslet) investigates a local murder. The series explores the dark side of a close community and provides an authentic examination of how family and past tragedies can define our present.

Intergalactic" (2021) British movie posterSky has two series currently available or broadcasting that have their roots in classic British TV series. The first is the heavily publicised British sci-fi action adventure Intergalactic (Sky One), with the whole series of 8 episodes (curtailed from 10 by the pandemic) available to download for subscribers. The series is the brainchild of Julie Gearey and has a largely multi-ethnic female led cast led by Savannah Steyn as a discredited cop forced to serve her sentence off-world, where she falls in with several other prisoners who take over their transport ship, the “Hemlock” (a cool Millenium Falcon styled spaceship) and go on the run from the Common World. In their midst is a terrorist leader, who has her own secrets the Common World need to suppress. An added complication is the Steyn’s mother is the the leader of the Common World security team in pursuit of the escapees. There is much murkiness behind the back story, which gradually becomes clearer as the series progresses. The plot sounds familiar because it is a direct riff on the 1970s classic “Blake’s 7” , only here the action is more violent, the language much coarser, the characters less likeable, the stories less original and the dialogue is a mix of the truly awful and the occasionally witty. The look and tone is also highly derivative in taking elements of “Mad Max”, “Firefly” and Con Air” blending together their more cliched elements. The cast is, on paper, a strong one that includes Sharon Duncan-Brewster, Eleanor Tomlinson, Thomas Turgoose, Natasha O’Keeffe, Oliver Coopersmith, Imogen Daines, Diany Samba-Bandza, Parminder Nagra and Craig Parkinson. Most of the performances are one dimensional and lacking in nuance as the cast struggle to take their characters beyond the machismo of their dialogue. That said there are moments where the potential for a stronger series emerges – I am currently half-way through the run and after a dodgy start there have been some genuinely funny moments as well as a few unintentional ones. Where the series truly scores is in its look. The production design and CGI visual effects are excellent, if occasionally a little over-processed, from the opening shots of London in ruins to the new raised city and beyond into the galaxy. Its often pulpy trash, but it is also somehow strangely addictive as it struggles to add a fun factor.  Hopefully the characters will settle down and become more rounded as the series progresses. For now it borders between the awful and the entertaining as a distinct guilty pleasure. I’ll come back later with my views on the last 4 episodes.

Kate Winslet as Mare SheehanMare of Easttown (Sky Atlantic), on the other hand, is a reminder of the high quality output from American production company HBO (Home Box Office). Here Kate Winslet plays a detective in a backwater Pennsylvania town. She is dogged by the fact she has been unable to solve a missing persons case and is embroiled with a current murder investigation where the suspects come close to home. No doubt the two cases will at some point be linked. In between time, she has her own domestic issues to address following the death of her son, the break-up of her marriage and her grand-parenting duties due to the absent mother, who is wrestling with a drug problem. It all sounds miserably downbeat, but here the writing is so strong and the characters totally believable with a razor-sharp script (written by Brad Ingelsby) injected with dark humour and witty dialogue. So far I have seen the first three episodes (of 7) of the series, which is being run weekly by Sky concurrently with HBO. The story has more than few echoes of one of British TV’s very best series, “Happy Valley”, and I would be surprised if it were not an influence on Ingelsby. Like “Happy Valley” this series has a gripping and multi-layered story with genuine character interactions and superb performances from its cast – most notably Winslet, who is flawless. It is a drama that sucks you into its world and holds you there in its vice-like grip. It looks set to be one of the best series since the turn of the century.

Book Review – FOR YOUR EYES ONLY (1960) by Ian Fleming

FOR YOUR EYES ONLY (1960) ***½
by Ian Fleming
This paperback edition published by Vintage, 2012, 262pp
First published by Jonathan Cape in 1960
© Ian Fleming Publications Ltd., 1960
Introduction by Ian Rankin (8pp)
ISBN: 978-0-099-57694-5

Short Stories:
From a View to a Kill (43pp) **½
For Your Eyes Only (61pp) ****
Quantum of Solace (34pp) ***
Risico (54pp) ****
The Hildebrand Rarity (54pp) ***½

Blurb: ‘Private armies, private wars. How much energy they siphoned off from the common cause, how much fire they directed away from the common enemy!’ Five stories. Five missions. Five glimpses into the mind of a spy. From Jamaican estates to brooding French forests, Bond is tested to his limits by the world’s most dangerous men and the dark secrets they keep.

Comment: Before James Bond hit the movie screens, consideration had been given to a television series and four of the five stories in this collection were adapted from story outlines Fleming had compiled. The fifth, “From a View to a Kill”, was initially outlined as background for MOONRAKER. Fleming uses these stories to explore Bond’s motivation and attitude. In “Quantum of Solace” Bond’s glib remark that if he ever got married it would be to an air hostess, because they are eager to please, is typical of his view of women. The tale is a cautionary one, however, as his host recounts a chilling account of a husband spurned. The story plays out as a warning to Bond. In “For Your Eyes Only” Bond debates the psychological impact of revenge killing with Judy Havelock, whose parents have been murdered by a drug cartel. He ultimately lets her help him pay back the debt. “The Hildebrand Rarity” sees Bond question man’s need to kill for trophies as his rude American host, Milton Krest, seeks a rare fish in the Seychelles, whilst abusing is sub-servient wife. Krest looks to add poison to the sea thereby killing thousands of other fish in his quest for his prize. Bond reflects on his own need to kill for his country and his own sport of killing a stingray, which he views as predatory. His debate with himself is widened as he becomes more concerned with the abuse Krest delivers to his wife and there is ambiguity in the ultimate justice. “From a View to a Kill” and “Risico” are more straight-forward adventures. The former feels more like an interlude and hardly stretches Bond. It is wrapped up too neatly and is the weakest of the stories here. “Risico” is an excellent story that pits Bond against feuding smugglers Kristatos and Colombo. There is action and intrigue packed into a very satisfying tale, that along with “For Your Eyes Only” would form the basis for the Roger Moore film of the latter title. This collection of stories is much more down to earth than Fleming’s preceding novels and in the stronger stories is the better for it, as it makes Bond more human and less of a plot cypher.

TV Review – DEMPSEY AND MAKEPEACE (1985)

DEMPSEY AND MAKEPEACE (TV) (1985, UK) **½
Crime, Action, Drama

dist. ITV – Independent Television (UK); pr co. Golden Eagle Films / London Weekend Television (LWT); d. Tony Wharmby; w. Ranald Graham; exec pr. Nick Elliott; pr. Tony Wharmby; ph. Mike Humphreys (Colour. 35mm. Spherical. 1.33:1); m. Alan Parker; ed. Ray Helm; pd. Gordon Melhuish, Colin Monk; cos. Robin Pidcock, Sue Thomson; m/up. Pauline Boulton, Margaret Palphramand; sd. Reg Mills (Mono); sfx. Any Effects; st. Roy Alon; rel. 11 January 1985 (UK); cert: 12; r/t. 94m.

cast: Michael Brandon (Dempsey), Glynis Barber (Makepeace), Ray Smith (Spikings), Ralph Michael (Lord Winfield), Terence Alexander (Commander Duffield), Ray Jewers (Phil Parris), Mark Wing-Davey (Mark Savory), David Baxt (Joe), Peter Ross-Murray (Eddie), Desmond Cullum-Jones (Coltrane), Billy Kearns (O’Grady), Norman Chancer (Bologna), Tony Osoba (Det. Sgt. Chas Jarvis), Douglas Milvain (Sir John Fielding), John Barcroft (Asst. Com. Jennings), Cheryl Prime (Car Rental Girl), Victor Baring (Club Manager), Eric Kent (Danny Price), Tony Jay (Abe Moser), Margot Van der Burgh (Diana Moser).

The introductory episode to the popular TV series which ran for three series and thirty episodes from 1985-6. In this pilot NYPD detective Dempsey (Brandon) uncover corruption in the force and is assigned to London for his safety. There he is teamed with upper-class female detective Makepeace (Barber) to investigate a smuggling operation. The story may lack sophistication but is typical action fare for the period. Brandon has a gruff charm and Barber adds significant glamour. Smith is the duo’s exasperated boss who struggles to keep his detectives in line. Brandon and Barber establish a winning chemistry that would develop off-screen. The whole thing is utterly predictable but entertains on a basic level and operates within its distinct limitations.  Aka: ARMED AND EXTREMELY DANGEROUS.

Film Review – THE VENGEANCE OF FU MANCHU (1967)

VENGEANCE OF FU MANCHU, THE (1967, UK/Ireland/West Germany/Hong Kong) **½
Action, Crime, Horror

dist. Anglo-Amalgamated Film Distributors (UK), Warner Bros./Seven Arts (USA); pr co. Constantin Film / Shaw Brothers / Terra-Filmkunst; d. Jeremy Summers; w. Harry Alan Towers (as Peter Welbeck) (based on the characters created by Sax Rohmer); pr. Harry Alan Towers; ph. John von Kotze (Eastmancolor. 35mm. Spherical. 1.66:1); m. Malcolm Lockyer; s. “The Real Me,” “Where Are the Men,” m/l. Malcolm Lockyer and Don Black (voice performed by Samantha Jones); ed. Allan Morrison; ad. Peggy Gick, Scott MacGregor; sd. Brian Marshall (Mono); rel. May 1967 (UK), Jamuary 1968 (USA); cert: PG; r/t. 91m.

cast: Christopher Lee (Fu Manchu), Tony Ferrer (Inspector Ramos), Tsai Chin (Lin Tang), Douglas Wilmer (Nayland Smith), Wolfgang Kieling (Dr. Lieberson), Suzanne Roquette (Maria), Howard Marion-Crawford (Petrie), Noel Trevarthen (Mark Weston), Horst Frank (Rudy), Peter Carsten (Kurt), Maria Rohm (Ingrid), Mona Chong (Jasmin).

Lee’s third outing as the evil Fu Manchu sees him plot the death of his nemesis Nayland Smith (Wilmer) through the highly implausible use of a surgically created double, whilst looking to hook up with crime syndicates around the world via their go-between (Frank). This entry is not as tightly directed as the first two instalments with often static and unimaginative camerawork robbing the action scenes of much of the energy Don Sharp brought to those first two films. Lee has little to do other than give orders from his throne. However, Chin is again effective as Fu’s sadistic daughter and Wilmer and Crawford continue their “Holmes/Watson” styled relationship. The supporting cast, much of which is dubbed, is less strong and some of the acting is woeful. Despite the period setting, the female characters seem to be dressed and coiffured in 1960s salons adding an anachronistic tone and losing the period colour given to Sharp’s films. That said, there are still moments to enjoy on a basic comic strip level and it remains a notch above what the series would descend into in its the final two instalments. Filmed in Hong Kong and Ireland. Followed by THE BLOOD OF FU MANCHU (1968).

Film Review – THE BRIDES OF FU MANCHU (1966)

BRIDES OF FU MANCHU, THE (1966, UK) ***
Action, Crime, Sci-Fi

dist. Anglo-Amalgamated Film Distributors (UK), Seven Arts Pictures (USA); pr co. Constantin Film Produktion / Fu Manchu Films / Hallam Productions; d. Don Sharp; w. Harry Alan Towers (as Peter Welbeck) (based on characters created by Sax Rohmer); pr. Harry Alan Towers, David Henley; ph. Ernest Steward (Eastmancolor. 35mm. Spherical. 1.85:1); m. Bruce Montgomery; ed. Allan Morrison; ad. Frank White; cos. Harry Haynes, Tina Haynes; m/up. George Partleton, Anne Box; sd. Len Abbott, John Brommage, Roy Piper (Mono (RCA Sound Recording)); rel. 2 September 1966 (West Germany), 16 December 1966 (UK/USA); cert: U; r/t. 94m.

cast: Christopher Lee (Fu Manchu), Douglas Wilmer (Nayland Smith), Heinz Drache (Franz Baumer), Marie Versini (Marie Lentz), Howard Marion-Crawford (Doctor Petrie), Tsai Chin (Lin Tang), Rupert Davies (Jules Merlin), Kenneth Fortescue (Sergeant Spicer), Joseph Fürst (Otto Lentz (as Joseph Furst)), Roger Hanin (Inspector Pierre Grimaldi), Harald Leipnitz (Nikki Sheldon), Carole Gray (Michel Merlin), Burt Kwouk (Feng), Salmaan Peerzada (Abdul (as Salmaan Peer)), Ric Young (Control Assistant (as Eric Young)), Wendy Gifford (Louise), Francesca Tu (Lotus (as Poulet Tu)), Sally Sheridan (Shiva (as Danni Sheridan)), Denis Holmes (Constable), Maureen Beck (Nurse Brown).

In 1924, Dr. Fu Manchu (Lee), his army of dacoits and his vicious daughter Lin Tang (Chin) are kidnapping the daughters of prominent scientists and taking them to his remote island, where he demands that the fathers help him to build a device that transmits blast waves through a radio transmitter, which he intends to use to take over the world. He plans to keep (even wed) the girls in question. But Dr. Fu Manchu’s archenemy, Nayland Smith (Wilmer) of Scotland Yard, is determined not to let that happen. Lee returns as the evil Fu in the decent follow-up to THE FACE OF FU MANCHU (1965). The film repeats the same formula and adds little that is new, but the direction is lively and the pace quick. The dialogue and script are strictly comic book, of course, and the performances vary in quality. Wilmer replaced Nigel Green in the role of Scotland Yard’s Nayland Smith, whilst Crawford returns as his sidekick Petrie – the pair striking up something akin to a Holmes/Watson dynamic. Chin exudes a sadistic menace as Fu’s daughter. Good location work and period detail for the limited budget. US release includes a 1m prologue reprise of the end of THE FACE OF FU MANCHU (1965). Followed by THE VENGEANCE OF FU MANCHU (1967).

Fish’s retirement album “Weltschmerz” – a career best

I recently bought one of the best albums I’ve heard in a long while. Fish’s double album “Weltschmerz“, released at the back end of last year, is an extremely personal set of songs and is a stunning collection both musically and lyrically. It’s his retirement album and every song makes an emotional connection. I was alerted to the album when I came across the promo video for the song “Garden of Remembrance”, which deals with the subject of dementia, told from Fish’s own experience with his father. It is one of the most heartfelt songs I have ever heard with its stark piano arrangement and deep-felt lyrics.

The album itself mixes the quirky (“Man with a Stick”, “This Party’s Over”) and the epic (“Rose of Damascus”, “Waverley Steps”) with melodies and lyrics that stay with you long after. The songs deal with health issues, something Fish has suffered more than his share of in recent years, the ageing process, changes in the way we live and the world itself. From the opener “Grace of God” through to the closing title track every song is a gem.  It is a stunning achievement for a 62-year-old.

Weltschmerz
/ˈvɛltˌʃmɛːts,German ˈvɛltˌʃmɛrts/
noun
a feeling of melancholy and world-weariness.

Track Listing:
CD1
The Grace of God 8.15
Man with a Stick 6.30
Walking on Eggshells 7.15
This Party’s Over 4.23
Rose of Damascus 15.43

CD2
Garden of Remembrance 6.04
C Song (The Trondheim Waltz) 4.41
Little Man What Now 10.53
Waverley Steps (End of the Line) 13.48
Weltschmerz 6.45

Released: 25th September 2020
Label: Chocolate Frog

Book Review – GOLDFINGER (1959) by Ian Fleming

GOLDFINGER (1959) ***½
by Ian Fleming
This paperback edition published by Vintage, 2012, 372pp
First published by Jonathan Cape in 1959
© Ian Fleming Publications Ltd., 1959
Introduction by Kate Mosse (9pp)
ISBN: 978-0-099-57692-1

Blurb: ‘You’re stale, tired of having to be tough. You want a change. You’ve seen too much death’. In Fleming’s seventh 007 novel, a private assignment sets Bond on the trail of an enigmatic criminal mastermind – Auric Goldfinger. But greed and power have created a deadly opponent who will stop at nothing to get what he wants.

Comment: Fleming’s seventh James Bond novel is his most ambitious plot to date, based around chief villain Auric Goldfinger’s plan to rob the Fort Knox gold depository, which occupies the final section of the book. The novel opens with Bond being asked by a friend to spot how Goldfinger is cheating him at cards. Bond succeeds and embarrasses Goldfinger into handing back his winnings. The pair meet again on the golf course, this time by design as Bond has been asked to investigate how Goldfinger is obtaining his massive wealth. The golf match is well described with Bond again getting the upper hand as Goldfinger fails in his attempt to win back some of his prior losses. Bond then follows Goldfinger across Europe to his factory, where he discovers how Goldfinger is smuggling his gold around the world. Having been discovered, Goldfinger, seemingly out of ego, keeps Bond onside as part of his Operation Grand Slam, the most daring robbery ever plotted. Along the way Bond meets Tilly Masterton, looking to avenge the death of her sister Jill at Goldfinger’s hands and the daringly named Pussy Galore, a lesbian gangster who is invested in Goldfinger’s operation. We also meet Oddjob, the giant Korean henchman with a deadly hat. Fleming’s writing is fluid and there is more of a cynical humour on show. The plot is frankly highly implausible and the final section of the book, whilst picking up the pace considerably, defies belief, whilst remaining wildly entertaining. However, it is hard to accept the logistics of Goldfinger’s plan and more so the way in which it is thwatrted. Goldfinger continues the trend set in Dr. No of Fleming using increasingly fantastical plots and the book feels a light year away from the honed down tension and emotion of Casino Royale.

Film Review – THE FACE OF FU MANCHU (1965)

FACE OF FU MANCHU, THE (1965, UK/West Germany) ***½
Action, Crime, Drama

dist. Warner-Pathé Distributors (UK), Seven Arts Pictures (USA); pr co. Hallam Productions; d. Don Sharp; w. Harry Alan Towers (as Peter Welbeck); exec pr. Oliver A. Unger (US only); pr. Harry Alan Towers (as Peter Welbeck) (based on characters created by Sax Rohmer); ph. Ernest Steward (Technicolor. 35mm. Techniscope (uncredited). 2.35:1); m. Christopher Whelen; ed. John Trumper; ad. Frank White; cos. Dorothy Edwards; m/up. Gerry Fletcher, Anne Box; sd. Ken Cameron, Fred Hughesdon (Mono (RCA Sound Recording)); rel. 6 August 1965 (West Germany, UK), 24 October 1965 (USA); cert: PG; r/t. 96m.

cast: Christopher Lee (Fu Manchu), Nigel Green (Nayland Smith), Joachim Fuchsberger (Carl Jannsen), Karin Dor (Maria Muller), James Robertson Justice (Sir Charles), Howard Marion-Crawford (Dr. Petrie), Tsai Chin (Lin Tang), Walter Rilla (Muller), Harry Brogan (Gaskell), Francesca Tu (Lotus (as Poulet Tu)), Archie O’Sullivan (Chamberlain), Edwin Richfield (Chief Magistrate), Joe Lynch (Custodian), Peter Mosbacher (Hanumon), Ric Young (Grand Lama (as Eric Young)), Deborah DeLacey (Slave Girl), Jim Norton (Mathius), Jack O’Reilly (Constable), Peter Mayock (Soldier), Aiden Grennell (Security Guard).

Faced with a crime wave involving Orientals and drugs, Nayland Smith (Green) of Scotland Yard begins to suspect that it is masterminded by Fu Manchu (Lee), although he himself witnessed the latter’s execution in China some years previously. This highly entertaining and fast-moving adventure has a spirit of the old movie serials. Sharp keeps the plot moving and directs with an enthusiastic zeal. The cast are game too and their performances carry a conviction that elevates the material. Lee is commanding as Fu Manchu and Green authoritative as Nayland Smith. The stunt work on the many fight sequences is excellent (despite the stunt doubles being a little obvious), although you must wonder about old Fu’s recruitment programme given the ineptitude of his followers. Cold and bleak Irish locations double for Tibet and the film was successful enough to spawn several sequels. Followed by THE BRIDES OF FU MANCHU (1966), THE VENGEANCE OF FU MANCHU (1967), THE BLOOD OF FU MANCHU (1968) and THE CASTLE OF FU MANCHU (1969).

Film Review – TWO-MINUTE WARNING (1976)

TWO-MINUTE WARNING (1976, USA) ***
Crime, Mystery, Thriller

dist. Universal Pictures (USA), Cinema International Corporation (CIC) (UK); pr co. Filmways Pictures / Universal Pictures; d. Larry Peerce; w. Edward Hume (based on the novel by George LaFountaine); pr. Edward S. Feldman; ph. Gerald Hirschfeld (Technicolor. Super 8 (Cineavision: 2.35, anamorphic), 35mm. Panavision (anamorphic). 2.35:1); m. Charles Fox; ed. Walter Hannemann, Eve Newman; ad. Herman A. Blumenthal; set d. John M. Dwyer; cos. Irwin Rose, Vicki Sánchez; m/up. Lon Bentley, Tony Lloyd, Connie Nichols; sd. James R. Alexander, Gordon Ecker, Robert L. Hoyt (Mono (Westrex Recording System)); sfx. Arthur Brewer; vfx. Albert Whitlock; st. Glenn R. Wilder; rel. 12 November 1976 (USA), November 1976 (UK); cert: R/15; r/t. 115m.

cast: Charlton Heston (Capt. Peter Holly), John Cassavetes (Sgt. Button), Martin Balsam (Sam McKeever), Beau Bridges (Mike Ramsay), Marilyn Hassett (Lucy), David Janssen (Steve), Jack Klugman (Sandman), Gena Rowlands (Janet), Walter Pidgeon (The Pickpocket), Brock Peters (Paul), David Groh (Al), Mitchell Ryan (The Priest), Joe Kapp (Charlie Tyler), Pamela Bellwood (Peggy Ramsay), Jon Korkes (Jeffrey), William Bryant (Lt. Calloway), Allan Miller (Mr. Green), Andy Sidaris (TV Director), Ron Sheldon (Assistant TV Director), Stanford Blum (Assistant TV Director).

Peerce directed this story of a mad sniper loose in a football stadium. The Los Angeles Police Department, led by Capt. Peter Holly (Heston), learns that a madman is planning to open fire on football fans in a packed Los Angeles Coliseum. Holly finds himself at tactical odds with SWAT commander Sgt. Button (Cassavetes) as the fans — including gambler Sandman (Klugman), a pickpocket (Pidgeon), car salesman Steve (Janssen) and his girlfriend, Janet (Rowlands) — unknowingly risk their lives while the gunman takes aim. Peerce handles the material skilfully – notably during the chaotic climax as the crowd stampede for the exits.  Heston gives a square-jawed performance as the police captain and Cassavetes is perhaps overly-cynical as the SWAT team leader. The supporting cast of potential sniper victims is strong, although the dialogue they are given to work with is formulaic. The football stadium scenes are well staged – the game footage for the full stadium shots of the L.A. Coliseum were from a Pac-8 college match. Script-wise, there are lapses in logic in the police approach to the situation and it is hard to believe that only one member of the crowd seems to have noticed what is going on. The gunman is given no back story, which to an extent makes the scenario more unsettling and is resonant today in representing a society where the gun laws result in frequent single-handed multi-victim shooting incidents. The back story element was later rectified in the 1979 TV broadcast version of the film, which included  around 40m of new scenes substituting 30m of the original material. Additional cast members for the TV version included: Rossano Brazzi, James Olson, Paul Shenar, William Prince, Joanna Pettet, and Warren Miller. Peerce wisely asked for his name to be removed from the credits of the new version.

AAN: Best Film Editing (Eve Newman, Walter Hannemann)