Lindsay Anderson’s third ‘Mick Travis’ movie is a crazy comedy eager to overstep lines of cinematic decorum. Britain in 1982 is a country at war with itself, torn by elitist snobbery and working-class revolt. Union grievances cripple the functioning of a major public hospital, on a day when the Queen is set to visit. A huge comic cast grapples with satire that reaches beyond cynicism to express total dysfunction. And the comedy has a wicked sting in its tail: Graham Crowden’s mad-as-a-hatter scientist has diverted National Health funds into grisly experiments with human body parts. The ‘visionary’ maniac spills more blood than Peter Cushing and Sam Peckinpah, put together.
Britannia Hospital
Region B Blu-ray
Powerhouse Indicator
1982 / Color / 1:85 widescreen/ 117 (111) min. / Street Date June 29, 2020 / available from Powerhouse Films UK / £15.99
Starring: Leonard Rossiter, Vivian Pickles, Graham Crowden, Jill Bennett,
Marsha A. Hunt, Joan Plowright, Malcolm McDowell, Mark Hamill.
Cinematography: Mike Fash...
Britannia Hospital
Region B Blu-ray
Powerhouse Indicator
1982 / Color / 1:85 widescreen/ 117 (111) min. / Street Date June 29, 2020 / available from Powerhouse Films UK / £15.99
Starring: Leonard Rossiter, Vivian Pickles, Graham Crowden, Jill Bennett,
Marsha A. Hunt, Joan Plowright, Malcolm McDowell, Mark Hamill.
Cinematography: Mike Fash...
- 7/7/2020
- by Glenn Erickson
- Trailers from Hell
From the director of the beloved Local Hero: ‘Pure Simple Joy’ is an apt way to describe this deceptively meek, completely endearing Scottish film with a universal theme about adolescence and the reality of teen love. John Hughes’ teen pix do not hold a candle to the innocent charm found here. The gawky yet boundlessly optimistic Gregory falls head over heels for the teenaged wonder girl of his dreams… his only problem is that she’s light years ahead of him in terms of maturity. But the female social system takes on the problem in what must be the most gentle (make that Utopian) view of high school ever. Writer-director Bill Forsythe struck independent hit gold.
Gregory’s Girl
Blu-ray
Film Movement Classics
1980 / Color / 1:85 widescreen / 91 min. / Street Date January 21, 2020 / 20.05
Starring: Gordon John Sinclair, Dee Hepburn, Jake D’Arcy, Clare Grogan, Robert Buchanan, Billy Greenlees, Alan Love.
Cinematography: Michael Coulter
Film Editor:...
Gregory’s Girl
Blu-ray
Film Movement Classics
1980 / Color / 1:85 widescreen / 91 min. / Street Date January 21, 2020 / 20.05
Starring: Gordon John Sinclair, Dee Hepburn, Jake D’Arcy, Clare Grogan, Robert Buchanan, Billy Greenlees, Alan Love.
Cinematography: Michael Coulter
Film Editor:...
- 1/21/2020
- by Glenn Erickson
- Trailers from Hell
You never heard of the Great Glasgow Ice Cream Wars? They weren’t exactly Armageddon, and the gentle director Bill Forsyth makes a radio personality’s involvement with two competing ice cream companies more of a plunge into amiable drollery. If you like Gregory’s Girl and Local Hero you’ll understand the odd, unhurried attitude of this oddball show from 1984.
Comfort and Joy
Region B Blu-ray
Studiocanal
1984 / Color / 1:85 widescreen / 100 min. / Street Date February 29, 2016 / At Amazon UK / £ 9.99
Starring: Bill Patterson, C.P. Grogan, Eleanor David, Alex Norton, Patrick Malahide.
Cinematography: Chris Menges
Film Editor: Michael Ellis
Original Music: Mark Knopfler
Produced by Davina Belling, Clive Parsons
Written and Directed by Bill Forsyth
Quick, name some great filmmakers before the 1990s that hail from Scotland. Actually, there are plenty, it’s just that most made their careers and reputations in London, and some later in Hollywood. The home-grown talent Bill Forsyth...
Comfort and Joy
Region B Blu-ray
Studiocanal
1984 / Color / 1:85 widescreen / 100 min. / Street Date February 29, 2016 / At Amazon UK / £ 9.99
Starring: Bill Patterson, C.P. Grogan, Eleanor David, Alex Norton, Patrick Malahide.
Cinematography: Chris Menges
Film Editor: Michael Ellis
Original Music: Mark Knopfler
Produced by Davina Belling, Clive Parsons
Written and Directed by Bill Forsyth
Quick, name some great filmmakers before the 1990s that hail from Scotland. Actually, there are plenty, it’s just that most made their careers and reputations in London, and some later in Hollywood. The home-grown talent Bill Forsyth...
- 6/23/2017
- by Glenn Erickson
- Trailers from Hell
The director-centric 1970s were a time for pushing the boundaries of 'acceptable' film content, but John Byrum's witty and profane period piece about a Hollywood porn director was a step too far. Richard Dreyfuss leads a cast of utterly fearless actors in a witty and intelligent dissection of movieland decadence. Inserts Region A Blu-ray Twilight Time 1975 / Color / 1:85 widescreen / 115 min. / Street Date June 14, 2016 / (Nc-17) / Available from Twilight Time Movies Store29.95 Starring Richard Dreyfuss, Jessica Harper, Veronica Cartwright, Bob Hoskins, Stephen Davies. Cinematography Denys N. Coop Art Direction John Clark Costumes Shirley Russell Produced by Davina Belling, Clive Parsons Written and Directed by John Byrum
Reviewed by Glenn Erickson
At least in Los Angeles, the theatrical showings of John Byrum's remarkable Inserts came and went (cough) so fast that nobody had time to be outraged. The reviews made it sound like sordid trash that could only attract men in plastic raincoats.
Reviewed by Glenn Erickson
At least in Los Angeles, the theatrical showings of John Byrum's remarkable Inserts came and went (cough) so fast that nobody had time to be outraged. The reviews made it sound like sordid trash that could only attract men in plastic raincoats.
- 7/8/2016
- by Glenn Erickson
- Trailers from Hell
They say Cannes "stays in your blood" and it's true! Three weeks later, here's the final interview from my trip. I wanted to finish my interview tour of the movie business with a real blue collar film festival so I sat down for a drink with Rachel Richardson-Jones, aka "Lady Grimm"; a film producer and director of the Grimm Up North International Film Festival of Horror and Cult Films.
How long has your festival been running and how did it get started?
Grimm is now in its fourth year and was born out of shameless self promotion for our first feature "Splintered". Sadly our executive producer Clive Parsons, a veteran British film producer who made such classics as Scum and Gregory's Girl and I might add was a true gentleman, passed away shortly after completion, leaving us without a clue of how to get distribution in our own territory. So we decided to put on a little showcase of three movies over one day in our home town of Manchester and call it Grimm up North. After a successful week in London I managed to not only acquire distribution for Splintered, but also a number of movies to screen from various distributors and Grimm Up North turned out to be three crazy days of 28 movies, twelve of which were premiers, not to mention a plague of Cenobites. Although we vowed "never again" the day after the festival, there did seem to be a lot of love for it and we've been growing steadily each year.
What brings you to Cannes?
This was an extremely exciting year for us, as it was Grimm Up North's first year as a buyer at Cannes, we were looking for films to screen at the festival in October. In addition to this we have also raised the bar with our brand new distribution label Grimm Entertainment. We have partnered with Koch media in the UK and have already acquired rights to several films which we are releasing in Early October 2012. We are to release a minimum of eight movies in our first year so we were looking for movies that would play well at the festival and also have UK rights available for distribution.
So what's the ultimate goal with the festival? Do you plan on growing into a market or another Sundance?
It would be an interesting idea to grow Grimm to the stage whereby, if you produce, write, sell, buy, promote or just love to watch genre material, people can come to Manchester to do just that and get to cuddle lots of lovely northern folk, as we are very friendly in the North.
What kind of films do you like personally?
Wow my taste is so diverse, I do have a penchant for Sci-Fi, but also love to watch films from all over the world, I love films with a great story, so for me it can be any genre from ‘The Lives of Others’ to ‘Martyrs’ to ‘How to Train Your Dragon’.
How many submissions do you normally get and how do you go through them all?
This year we had over 100 submissions. We have a dedicated team of volunteers who help us view material. But essentially it comes down to Myself, Simeon Halligan who is co-director of the festival and Steve Balshaw our film programmer and founding member of Grimm who make the decisions, and if we can't all agree on a film it doesn't go in the festival.
A lot of people say the festival process is inherently political, what are your thoughts on that and do you have advice for filmmakers?
This is a very good point, running our own festival has really given us a great insight as filmmakers of how important it is to make sure either the producer or sales agent make a big noise about a film. It is essential to get it into the press and give your movie as much profile as possible. There are so many films to watch you end up being drawn to the ones listed in the trades and there starts the merry go round, with all the usual suspects being shown in all the various festivals. Whilst we at Grimm do like to have a number of festival circuit films we have seen at the markets, we do get quite excited by the submissions we get to the festival. Steve Balshaw was a big advocate of the Soska sisters' submission ‘Dead Hooker in a Trunk’ it got great coverage at Grimm and really helped to build a following for them in the UK. Similarly we hope to do the same with Ryan Levin’s 'Some Guy Who Kills People' which screened really well at last year's festival and that we will be releasing later on in the year under the Grimm label.
Did you have a "Cannes moment"?
Meeting Zack Coffman at the Estonian Drinks Party and scoffing all their chocolate which we just couldn't get enough of!
Well, there you have it. I've finally worked Cannes out of my system.
Written by Zack Coffman. Follow Zack's film marketing tips and adventures @choppertown on Twitter.
How long has your festival been running and how did it get started?
Grimm is now in its fourth year and was born out of shameless self promotion for our first feature "Splintered". Sadly our executive producer Clive Parsons, a veteran British film producer who made such classics as Scum and Gregory's Girl and I might add was a true gentleman, passed away shortly after completion, leaving us without a clue of how to get distribution in our own territory. So we decided to put on a little showcase of three movies over one day in our home town of Manchester and call it Grimm up North. After a successful week in London I managed to not only acquire distribution for Splintered, but also a number of movies to screen from various distributors and Grimm Up North turned out to be three crazy days of 28 movies, twelve of which were premiers, not to mention a plague of Cenobites. Although we vowed "never again" the day after the festival, there did seem to be a lot of love for it and we've been growing steadily each year.
What brings you to Cannes?
This was an extremely exciting year for us, as it was Grimm Up North's first year as a buyer at Cannes, we were looking for films to screen at the festival in October. In addition to this we have also raised the bar with our brand new distribution label Grimm Entertainment. We have partnered with Koch media in the UK and have already acquired rights to several films which we are releasing in Early October 2012. We are to release a minimum of eight movies in our first year so we were looking for movies that would play well at the festival and also have UK rights available for distribution.
So what's the ultimate goal with the festival? Do you plan on growing into a market or another Sundance?
It would be an interesting idea to grow Grimm to the stage whereby, if you produce, write, sell, buy, promote or just love to watch genre material, people can come to Manchester to do just that and get to cuddle lots of lovely northern folk, as we are very friendly in the North.
What kind of films do you like personally?
Wow my taste is so diverse, I do have a penchant for Sci-Fi, but also love to watch films from all over the world, I love films with a great story, so for me it can be any genre from ‘The Lives of Others’ to ‘Martyrs’ to ‘How to Train Your Dragon’.
How many submissions do you normally get and how do you go through them all?
This year we had over 100 submissions. We have a dedicated team of volunteers who help us view material. But essentially it comes down to Myself, Simeon Halligan who is co-director of the festival and Steve Balshaw our film programmer and founding member of Grimm who make the decisions, and if we can't all agree on a film it doesn't go in the festival.
A lot of people say the festival process is inherently political, what are your thoughts on that and do you have advice for filmmakers?
This is a very good point, running our own festival has really given us a great insight as filmmakers of how important it is to make sure either the producer or sales agent make a big noise about a film. It is essential to get it into the press and give your movie as much profile as possible. There are so many films to watch you end up being drawn to the ones listed in the trades and there starts the merry go round, with all the usual suspects being shown in all the various festivals. Whilst we at Grimm do like to have a number of festival circuit films we have seen at the markets, we do get quite excited by the submissions we get to the festival. Steve Balshaw was a big advocate of the Soska sisters' submission ‘Dead Hooker in a Trunk’ it got great coverage at Grimm and really helped to build a following for them in the UK. Similarly we hope to do the same with Ryan Levin’s 'Some Guy Who Kills People' which screened really well at last year's festival and that we will be releasing later on in the year under the Grimm label.
Did you have a "Cannes moment"?
Meeting Zack Coffman at the Estonian Drinks Party and scoffing all their chocolate which we just couldn't get enough of!
Well, there you have it. I've finally worked Cannes out of my system.
Written by Zack Coffman. Follow Zack's film marketing tips and adventures @choppertown on Twitter.
- 6/22/2012
- by Zack Coffman
- Sydney's Buzz
A young woman tormented by nightmares about being frightened and abused as a child drags along three reluctant, disagreeable chums to investigate a cannibalistic creature on the loose in North Wales. They come across an abandoned but not deserted orphanage in the woods and mayhem ensues. After hanging around for a couple of years this indifferent horror flick is getting a brief cinematic release before going to DVD where, if anywhere, it belongs. It's the final film of the British independent producer Clive Parsons, the ex-barrister and co-author of a bestselling schools Latin vocabulary book. He's better remembered for such movies as Scum, Gregory's Girl and Britannia Hospital.
HorrorPhilip French
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds...
HorrorPhilip French
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds...
- 9/4/2010
- by Philip French
- The Guardian - Film News
Award-winning movie producer Clive Parsons has lost his battle with pancreatic cancer. He was 66.
Parsons, who produced and developed 20 feature films with partner Davina Belling, passed away on 12 August in his native England.
His work on 1974 film Inserts, starring Richard Dreyfuss and Bob Hoskins, began a string of production credits including Britannia Hospital, Scum, Breaking Glass, A Business Affair, True Blue, I Am David and director Franco Zeffirelli's films Tea With Mussolini and Callas Forever.
Parsons also served as president at Kings Road Productions in the U.S. and later moved to Warner Bros, Europe as head of business affairs.
In 1971, Parsons and Belling formed Film and General Productions, continuing to pursue movie projects while also producing childrens' British TV series The Queen's Nose and The Giblet Boys, which won a BAFTA award for Best Children's Drama for 2005/2006.
Parsons, who produced and developed 20 feature films with partner Davina Belling, passed away on 12 August in his native England.
His work on 1974 film Inserts, starring Richard Dreyfuss and Bob Hoskins, began a string of production credits including Britannia Hospital, Scum, Breaking Glass, A Business Affair, True Blue, I Am David and director Franco Zeffirelli's films Tea With Mussolini and Callas Forever.
Parsons also served as president at Kings Road Productions in the U.S. and later moved to Warner Bros, Europe as head of business affairs.
In 1971, Parsons and Belling formed Film and General Productions, continuing to pursue movie projects while also producing childrens' British TV series The Queen's Nose and The Giblet Boys, which won a BAFTA award for Best Children's Drama for 2005/2006.
- 8/21/2009
- WENN
Artisan Entertainment and Walden Media have struck a deal to partner on the North American release of I Am David, an adventure story about a young boy's journey in post-World War II Europe written and directed by Paul Feig. Based on the novel North to Freedom by Anne Holm, David stars Joan Plowright, Jim Caviezel and newcomer Ben Tibber. It centers on a boy (Tibber) who escapes from captivity in postwar Bulgaria and his journey across Western Europe. Clive Parsons, Davina Belling and Lauren Levine produced the film. According to the announcement, Artisan and Walden will work together to introduce the film to families and teachers by hosting special screenings, community outreach events and supplemental materials. Artisan is eyeing a 2004 release.
- 10/21/2003
- The Hollywood Reporter - Movie News
Prolific Yugoslavian filmmaker Goran Paskaljevic's third film in English after 1983's "Twilight Time" and 1995's "Someone Else's America" is an odd concoction that stars Colm Meaney as a thick-headed Irishman who believes that the best measure of a man is who his enemies are. Making the festival rounds and a crowd-pleaser at the Santa Barbara International Film Festival, "How Harry Became a Tree" is written by Paskaljevic, Stephen Walsh and Christine Gentet-Paskaljevic and based on a fable by Chinese writer Yang Zhengguang.
Co-starring Adrian Dunbar and featuring young duo Cillian Murphy ("Disco Pigs") and Kerry Condon ("Angela's Ashes") as initially unfortunate newlyweds, "Harry" is set on the Emerald Isle during the 1920s. A superb showcase for gravelly Meaney and a twisted love story, "Harry" could grow on art house audiences in tune with such similar fare as "Behind the Sun". Paskaljevic's film screens March 16 in Hollywood as part of the American Cinematheque's minifest of new Irish cinema.
A widower and half-mad cabbage farmer, Harry Maloney (Meaney) had a son killed by English soldiers and lives with his other, somewhat troubled boy Gus (Murphy). One day, local pubkeeper and matchmaker George (Dunbar) brings home "new girl" Eileen (Condon), and Gus is instantly smitten. The problem is Harry has chosen George as his enemy. In psychotic fashion, Harry slanders and outright antagonizes George, but the former simmers down just long enough to sanction Gus and Eileen's betrothal.
Married and with a new baby, George is no saint either. After the wedding of Gus and Eileen takes place, George makes a deal in which she works as a house servant with his own wife recovering from childbirth. Less than swept off her feet by the shy, introverted Gus, Eileen is quickly seduced by George. Harry's rantings start to make some sense.
From the priest who fields unpious questions in the confessional to one of George's past conquests who is still desperately in love with him, the atmospheric scenario swings from situational comedy to bitter tragedy. By degrees, George and Harry's tit-for-tat behavior gets serious, and at least one assassination is attempted. Gus and Eileen's road to happiness is bumpy to say the least.
Paskaljevic, whose last film was the grim and disturbing "Cabaret Balkan", never overstates the universality of the story, while the title refers to Harry's mystical dreams of transforming into a formidable tree. Beautifully shot by Milan Spasic, "Harry" is a handsome production in all aspects. Paskaljevic encourages great performances from the strong cast, including Gail Fitzpatrick and Maighread Ni Conghaile as the most important women in George's life.
HOW HARRY BECAME A TREE
Paradox Pictures, Cattleya
Director: Goran Paskaljevic
Screenwriters: Goran Paskaljevic, Stephen Walsh, Christine Gentet-Paskaljevic
Producers: Clive Parsons, Antoine de Clermont-Tonnere, Riccardo Tozzi, Liam
O'Neill
Executive producer: Umberto Sambuco
Director of photography: Milan Spasic
Production designer: Lesley Oakley
Editor: Petar Putnikovic
Costume designer: Carol Betera
Music: Stefano Arnaldi
Color/stereo
Cast:
Harry Maloney: Colm Meaney
George Flaherty: Adrian Dunbar
Gus: Cillian Murphy
Eileen: Kerry Condon
Margaret: Gail Fitzpatrick
Maeve: Maighread Ni Conghaile
Running time -- 100 minutes
No MPAA rating...
Co-starring Adrian Dunbar and featuring young duo Cillian Murphy ("Disco Pigs") and Kerry Condon ("Angela's Ashes") as initially unfortunate newlyweds, "Harry" is set on the Emerald Isle during the 1920s. A superb showcase for gravelly Meaney and a twisted love story, "Harry" could grow on art house audiences in tune with such similar fare as "Behind the Sun". Paskaljevic's film screens March 16 in Hollywood as part of the American Cinematheque's minifest of new Irish cinema.
A widower and half-mad cabbage farmer, Harry Maloney (Meaney) had a son killed by English soldiers and lives with his other, somewhat troubled boy Gus (Murphy). One day, local pubkeeper and matchmaker George (Dunbar) brings home "new girl" Eileen (Condon), and Gus is instantly smitten. The problem is Harry has chosen George as his enemy. In psychotic fashion, Harry slanders and outright antagonizes George, but the former simmers down just long enough to sanction Gus and Eileen's betrothal.
Married and with a new baby, George is no saint either. After the wedding of Gus and Eileen takes place, George makes a deal in which she works as a house servant with his own wife recovering from childbirth. Less than swept off her feet by the shy, introverted Gus, Eileen is quickly seduced by George. Harry's rantings start to make some sense.
From the priest who fields unpious questions in the confessional to one of George's past conquests who is still desperately in love with him, the atmospheric scenario swings from situational comedy to bitter tragedy. By degrees, George and Harry's tit-for-tat behavior gets serious, and at least one assassination is attempted. Gus and Eileen's road to happiness is bumpy to say the least.
Paskaljevic, whose last film was the grim and disturbing "Cabaret Balkan", never overstates the universality of the story, while the title refers to Harry's mystical dreams of transforming into a formidable tree. Beautifully shot by Milan Spasic, "Harry" is a handsome production in all aspects. Paskaljevic encourages great performances from the strong cast, including Gail Fitzpatrick and Maighread Ni Conghaile as the most important women in George's life.
HOW HARRY BECAME A TREE
Paradox Pictures, Cattleya
Director: Goran Paskaljevic
Screenwriters: Goran Paskaljevic, Stephen Walsh, Christine Gentet-Paskaljevic
Producers: Clive Parsons, Antoine de Clermont-Tonnere, Riccardo Tozzi, Liam
O'Neill
Executive producer: Umberto Sambuco
Director of photography: Milan Spasic
Production designer: Lesley Oakley
Editor: Petar Putnikovic
Costume designer: Carol Betera
Music: Stefano Arnaldi
Color/stereo
Cast:
Harry Maloney: Colm Meaney
George Flaherty: Adrian Dunbar
Gus: Cillian Murphy
Eileen: Kerry Condon
Margaret: Gail Fitzpatrick
Maeve: Maighread Ni Conghaile
Running time -- 100 minutes
No MPAA rating...
- 3/21/2002
- The Hollywood Reporter - Movie News
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