Five Films I Like
I was asked recently, what are my top five films of all time? This is one of those loaded questions that I don’t really like to answer. I enjoy lots of films across multiple genres. This includes acknowledged “classics” as well as low rent, exploitative trash. So why limit myself to just five films? Also, my answers would change regularly depending upon my mood and current cinematic interests. However, that doesn’t make for a pithy and interesting response to the original question. So I shall compromise. Here is a list of five films that I have an abiding love for and watch frequently. They always entertain me and there is a sense of comfort whenever revisiting them. That's not to say they are all good films. Possibly only one that is listed is considered a piece of noteworthy art. The rest are just entertaining to various degrees. Yet I have a strong emotional attachment to them all. Sometimes that’s all that matters.
The Medusa Touch (1978)
An interesting adaptation of a popular seventies novel by Peter Van Greenaway. Novelist John Morlar is found in his flat, savagely beaten yet clinging to life. The subsequent Police investigation uncovers that Morlar has continuously encountered tragedy throughout his life and how many of those associated with him have died unexpectedly. After reading Morlar’s journals, Inspector Brunel (Lino ventura) begins to suspect that the injured novelist may be able to cause disasters. Although Richard Burton was not in the best of health when he made this film, he still delivers a powerful and charismatic performance as a misanthropic author. There is some eminently quotable dialogue and the tension steadily builds to a dramatic climax. The cathedral collapse at the end of the film is very well realised with practical effects and miniatures. The Medusa Touch is also a who's who of British character actors of the time.
Journey to the Far side of the Sun AKA Doppelgänger (1969)
This British science fiction film was produced by Gerry and Sylvia Anderson at the height of their success. However, one of Universal Studios financing requirements was that the film had to be directed by an established American director. Hence Robert Parrish got the job and clashed with Gerry Anderson. As a result many subplots within the script were cut from the final film. As a result the story, although intriguing and very akin to an episode of the Twilight Zone, struggles to sustain the film’s 100 minute running time. However the production design is stylish and in a very late sixties idiom. There's a sumptuous score by Barry Gray and the miniature effects by Derek Meddings are sublime. Especially the rocket launch. As ever with Gerry Anderson there is a casual and tonally unexpected use of violence and the film has a wonderfully bleak ending that no studio would countenance these days.
Krull (1983)
This hybrid fantasy movie started as sword and sorcery film but subsequently morphed into a Star Wars clone during its pre-production in a curious attempt to hedge its bet. At the time this was a very expensive movie using multiple sound stages at Pinewood Studios and location filming in both Spain and Italy. Krull is narratively and thematically somewhat of a mess due to the obvious changes made to the screenplay. However, it looks fantastic and features a wonderful cast of such character actors as Freddie Jones, Alun Armstrong and the great Bernard Bresslaw. There are also early appearances by Liam Neeson and Robbie Coltrane. Krull has developed quite a cult following over time. The Slayers and the Beast designs are quite scary and there is a superb score by James Horner that is very reminiscent of the halcyon Hollywood days of Erich Wolfgang Korngold and Miklós Rózsa.
Raise the Titanic (1980)
British media proprietor and impresario Lew Grade fared very well in television throughout the sixties and seventies. However, he was not so successful when he moved into film production. Raise the Titanic, based upon the novel by Clive Cussler, went through dozens of re-writes before it went into production, which accounts for why the final screenplay is so indifferent. The cast is curious and you get the impression that everyone they originally wanted was not available. Yet those actors who were eventually cast, Richard Jordan, Jason Robards and Alec Guiness are perfectly competent. However, the film was critically panned and bombed at the box office, effectively ruining ITC Productions. Irrespective of this, the miniature effects are outstanding and John Barry's portentous score does much of the heavy lifting, creating atmosphere, mystery and intrigue. It’s not a hidden gem but Raise the Titanic is far from the dog’s dinner some claim.
Night of the Demon AKA Curse of the Demon (1957)
Based on M R James' short story Casting the Runes, this is a horror masterpiece from director Jacque Tourneur. Beautifully shot in black and white by Ted Scaife, the film boasts an excellent production design by Ken Adam who subsequently went on to create all the huge sets for the sixties and seventies Bond films. The implied horror and tension is superbly handled and when the demon turns up it is suitably grim, despite its technical limitations. It was originally intended that the demon would be created by stop motion legend Ray Harryhausen but he was sadly unavailable. The optical smoke effects by FX wizard Wally Veevers are a marvel and were subsequently repeated in his last film The Keep in 1983. Night of the Demon is a bonafide horror classic due to its attention to detail and palpable atmosphere. Again a strong cast, including Dana Andrews, Peggy Cummings and Niall MacGinnis contributes substantially to the proceedings.
