History Unlimited Films: 1980 to 1984

British Cinema

Our selection is so diverse as to defy any thematic description. The gangland drama is given a new lease of life and both the eccentric and the conventional force themselves on the attention of international audiences. The ghost of Ealing mutates to begin a new strain in British comedy; and David Lean ends his long and distinguished career.

The Elephant Man / David Lynch

1980. BW. UK. 118 mins. DVD.

John Hurt gives an Oscar nominated performance through a make-up job and mask that eliminate any facial expression. Grotesquely deformed John Merrick is rescued from a carnival freak show by Dr Frederick Treves (Anthony Hopkins). Merrick thrives under the doctor’s humane care, but a visiting actress (Anne Bancroft) brings him to the attention of Victorian society and the press. Merrick once more becomes the object of morbid curiosity and Treves’s motives are called into question. A moving true story with Freddie Jones, John Gielgud, Wendy Hiller, Hannah Gordon and Michael Elphick.

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The Long Good Friday / John Mackenzie

1980. Colour. UK. 109 mins. DVD.

A foretaste of the underbelly of Margaret Thatcher’s 1980s. A London gangster (Bob Hoskins) in search of kudos and respectability involves corrupt local politicos and American mobsters in a prestigious docklands development scheme. His upper class wife (Helen Mirren) uses her social graces to oil the wheels but the private enterprise of one of Hoskins’s henchmen attracts the animosity of the IRA, which places the docklands deal under threat. The Long Good Friday stands on the shoulders of Get Carter (1971 qv) and heralds a resurgence of the gritty British gangland genre that was to produce Mona Lisa (also with Bob Hoskins, 1986 qv) and Lock, Stock and Two Smoking Barrels (1998 qv).

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Chariots of Fire / Hugh Hudson

1981. Colour. UK. 118 mins. DVD.

A blockbuster that now seemed to have been a trifle overrated, this story of the intense competition between two runners who compete in the 1924 Olympics is a well crafted tale of social, racial and religious prejudice. Harold Abrahams (Ben Cross) is an English Jew whose credentials are of less interest to the selectors than his background. Eric Liddell (Ian Charleson) is a Scot of the muscular Christian variety. Ian Holm plays Abrahams’ somewhat plebeian trainer, contrasted with the English Establishment represented by Nigel Havers, John Gielgud, Nigel Davenport and Lindsay Anderson. A memorable score by Vangelis. Writer Colin Welland received the Best Picture Oscar with the words: ‘The British are coming!’ Some thought that the British had done a little better in the past and some think that there was better to come.

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The French Lieutenant's Woman / Karel Reisz

1981. Colour. UK. 119 mins. DVD.

Harold Pinter took on the daunting task of adapting John Fowles’s complex novel for the screen. The film is perhaps over-dominated by the need to deal with the book’s alternative endings. In fact there are two stories running in parallel. Meryl Streep and Jeremy Irons are modern actors and lovers who play the Victorian lovers in the film of the novel and whose story unwinds as the filming progresses. Geddit? Something of the brooding quality of Fowles’s Victorian England is lost in this lush production, and Streep’s performance is so near-perfect as to be almost sterile. But the slow reveal of Sarah Woodruff on the storm-battered Cob at Lyme Regis is an enduring image.

The French Lieutenant's Woman / John Fowles

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The Draughtsman's Contract / Peter Greenaway

1982. Colour. UK. 104 mins. DVD.

Peter Greenaway ploughs his own particular furrow with a film that takes us through power games between the classes and a puzzling murder mystery in a series of almost static tableaux. In the late 17th Century, artist Mr. Neville (Anthony Higgins) is approached by Mrs. Herbert (Janet Suzman) to produce a series of drawings of her estate in her husband’s absence. He agrees on condition that he receives sexual favours in addition to his payment. As the drawings progress the Herberts’ daughter (Anne Louise Lambert) hints that they contain clues to a plot involving her father. She blackmails him into sleeping with her in return for her silence over his liaison with her mother. Then Mr. Herbert’s body is found in the moat. Totally atmospheric and intriguing, the viewer is left almost as baffled as the draughtsman. A featured interview with the director may help.

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Educating Rita / Lewis Gilbert

1983. Colour. UK. 106 mins. DVD.

Willy Russell takes his stage play to the screen and is well served by Julie Walters and Michael Caine. Hairdresser Rita, avid for self-improvement and hampered by an unambitious husband, enrols in the Open University. Her booze-ridden tutor Frank Bryant doubts the wisdom of her decision but reluctantly introduces her to the world of English Literature. The hilarity increases as Rita passes through a phase of smug self-satisfaction and Frank is horrified by the monster he has created. This is a nicely drawn study of working class aspiration confronted by world weary academic cynicism, with Walters and Caine on top form.

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Local Hero / Bill Forsyth

1983. Colour. UK. 107 mins. DVD.

DVD re-released in May 2008. Harking back to the great years of Ealing comedy, Bill Forsyth’s piece of perfect whimsy exemplified a trend whereby the financing for a number of idiosyncratic British films was eased by the inclusion of an American star name. In this case Burt Lancaster is no mere token, but delivers a sound performance as a guilt-ridden oil tycoon with a passion for astronomy. Lancaster sends a young executive (Peter Riegert) to buy up a remote Scottish village for the drilling rights. The village is under the benign control of lawyer/publican Denis Lawson. The urban yuppie soon succumbs to the eccentric charm of the tiny community. Throw in a wise and wizened beachcomber who owns the key piece of property (Fulton Mackay), a web footed marine biologist (Jenny Seagrove), a Russian trawler captain (Christopher Rozycki), an evocative guitar soundtrack from Mark Knopfler and, last but not least, the Aurora Borealis, played by itself.

Local Hero / Soundtrack Album

Format: 1 Disc. 14 Tracks.

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Merry Christmas, Mr Lawrence / Nagisa Oshima

1983. Colour. UK/Jap. 124 mins. DVD

From The Seed and the Sower by Laurens Van Der Post, which was based on his own experiences in a Japanese POW camp. Major John Lawrence (Tom Conti) is a perceptive witness to the mutual incomprehension of prisoners and guards arising from opposing concepts of honour, a theme that provided one of the subtexts for The Bridge on the River Kwai (1957 qv). Lawrence develops an uneasy friendship with camp guard Sergeant Hara (Takeshi Kitano) while observing the ambiguous relationship between two new arrivals, POW Jack Celliers (David Bowie) and camp commandant Yoni (Ryuichi Sakamoto). This was Nagisa Oshima’s first English language film and pitted British pop star Bowie effectively against Japanese pop star Sakamoto, who wrote the score. Conti and Kitano give strong performances.

Merry Christmas, Mr Lawrence / Soundtrack Album

Format: 1 Disc. 18 Tracks.

The Seed and the Sower / Laurens Van Der Post

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The Company of Wolves / Neil Jordan

1984. Colour. UK. 91 mins. DVD.

An early and accomplished offering from Irish director Neil Jordan. Author and scriptwriter Angela Carter’s magic realism results in a haunting and sexually-laden treatment of the Little Red Riding Hood story. This virtually unique exploration of the archetypal underworld of fairy stories is stunningly photographed, with impressive special effects. Angela Lansbury, David Warner, Graham Crowden and Brian Glover are among those that orbit the dreams of 13-year-old Rosaleen, played by Sarah Patterson.

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The Killing Fields / Roland Joffe

1984. Colour. UK. 136 mins. DVD.

The moving story of Dith Pran, a Cambodian translator who is caught up in the ‘re-education’ and slaughter of Pol Pot’s revolution. Sam Waterston plays the American journalist Sydney Schanberg, who fails to extricate Dith to the US in advance of the Khmer Rouge’s inexorable advance, and who returns to the Far East to find his friend. Dith Pran is played by Haing S. Ngor, a Cambodian physician who had never acted before, but who gained a Best Supporting Actor Oscar. A human story that contrasts the humanity of the protagonists with the inhumanity of a regime that killed some three million people. With John Malkovitch as Schanberg’s photographer.

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A Passage to India / David Lean

1984. Colour. UK. 157 mins. DVD.

David Lean made this, his last film, after a fourteen year gap since Ryan’s Daughter (not available from Amazon). Based on E M Forster’s novel, the film revolves around the shifting barriers that exist between natives and colonial administration in 1920s India, and around the sexual repression and taboos of the expatriate society. Somewhat overlong for its content and lacking really solid characterisation, the film still mesmerises with its sumptuous production values, vide the approach to the Maramar Caves. With Judy Davis, Nigel Havers, Peggy Ashcroft, Victor Banerjee, Alec Guiness and James Fox. A Passage to India marks the passing of one of the all-time-great directors.

A Passage to India / E M Forster

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American Cinema

Directors that came to notice in the 1970s move forward, sometimes at epic scale. New entrants include a generation from a vibrant independent tradition, and there is a foretaste of the use of filmic references from directors who are imbued with affection for and encyclopaedic knowledge of the cinema of the past. Italian director Sergio Leone is fully adopted by Hollywood and British director Ridley Scott creates a totally believable world in Blade Runner.

The Blues Brothers / John Landis

1980. Colour. USA. 130 mins. DVD.

Exuberant piece of self indulgence in which a couple of reprobate brothers are obliged to raise money for their old orphanage. The answer? ‘Let’s get the old band together.’ Mayhem follows as the pair manage to upset the local cops and a bunch of neo-Nazis while wreaking destruction on Chicago. John Belushi and Dan Ackroyd (Jake and Elwood) belt out a few thumping numbers and the movie gets a lot of help from Ray Charles, James Brown, Aretha Franklin, Cab Calloway and a magnificent John Lee Hooker. Find CDs by John Lee and other blues legends in our Blues Store.

The Blues Brothers / Soundtrack Album

Format: 1 Disc. 11 Tracks.

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Atlantic City / Louis Malle

1981. Colour. USA/Can. 105 mins. DVD.

A faded and wasted Atlantic City is the proper milieu for faded and wasted small-time crook Burt Lancaster. Lancaster lives in a past that exists only in his imagination while caring for the ageing moll of his dead boss (Kate Reid). Harking back to the glory days of a gangster era in which he played no significant part, he is thrown in with croupier Susan Sarandon and tangles with the mob. A character study of a dying city and its inhabitants from French director Louis Malle. With Robert Joy and Michel Piccoli.

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Body Heat / Lawrence Kasdan

1981. Colour. USA. 109 mins. DVD.

Chandleresque thriller strongly reminiscent of Double Indemnity (1944 qv). William Hurt gives a solid performance as a none-too-bright Florida lawyer who is ensnared by Kathleen Turner in an affair as torrid as the high summer heatwave. Turner manoeuvres Hurt into killing her husband (Richard Crenna). The trap begins to close as the murder attracts the curiosity of a couple of Hurt’s colleagues (Ted Danson and J A Preston). Turner is magnificently erotic in her screen debut and there is an early appearance by Mickey Rourke as a seedy client who shows more nous than his lawyer Hurt.

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Excalibur / John Boorman

1981. Colour. USA. 135 mins. DVD.

Superior sword and sorcery extravaganza, John Boorman’s telling of the Arthurian legend. An impressive cast flits through Mallory’s medieval twilight: Nigel Terry (Arthur), Helen Mirren (Morgana), Nicholas Clay (Lancelot), Cherie Lunghi (Guinevere), Gabriel Byrne (Uther), Liam Neeson (Gawain); and Nicol Williamson as an unashamedly kitsch Merlin. Many of the exteriors were filmed around Tryfan, Glyder Fach and Glyder Fawr in the mountains of Snowdonia. The score owes much to Wagner.

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Indiana Jones Trilogy / Steven Spielberg

Raiders of the Lost Ark

Indiana Jones and the Temple of Doom

Indiana Jones and the Last Crusade

1981/84/89. Colour. USA. 115/118/127 mins. DVD.

The complete Indiana Jones franchise published, with special features, as a four disc box set. The first of these action adventures sets the formula: a whacky archaeologist, whacky situations, exotic locations, strong currents of religious myth, good versus evil, brilliant special effects and lots of creepy crawlies. This is shameless comic book stuff, reminiscent of the Saturday morning ‘thrupenny rush’ serials of post-war British film palaces. Creativity fell off noticeably after Raiders of the Lost Ark, but the trilogy made a star of Harrison Ford and gave Sean Connery a taste of the action in Last Crusade.

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Ragtime / Milos Forman

1981. Colour. USA/UK. 148 mins. DVD.

A curious period piece which interweaves, not entirely satisfactorily, several themes and the lives of four families. E L Doctorow’s original novel was a lot more coherent in its treatment, variously, of murder, upper-class decline, racism and revolutionaries. The evocation of early 20th Century America is, however, persuasive and kaleidoscopic and the film is lifted by an 81-year-old James Cagney as a New York Police Commissioner.

Ragtime / E L Doctorow

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Southern Comfort / Walter Hill

1981. Colour. USA. 107 mins. DVD.

Superficially similar to Deliverance (1972 qv), Southern Comfort’s use of the basic plot device could be seen as a none-too-subtle allegory of the Vietnam war. A bunch of immature and incompetent National Guardsmen are on manoeuvres in the Louisiana swamps. A canoe stolen from indigenous Cajun poachers and a few blank rounds fired over their heads prompt bloody retaliation. The unit stumbles through the unfriendly terrain, trying to find a way back to civilisation. A tense and competent thriller with Keith Carradine, Powers Boothe and Peter Coyote.

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Blade Runner (Re-mastered Directors Cut) / Ridley Scott

1982/2006. Colour. USA. 111 mins. DVD.

Blade Runner transcends both sci-fi and film noir and does it in high style, not least by its richly atmospheric evocation of a Los Angeles that by now seems not so much futuristic as almost imminent. If the world is a global village, LA is a global megalopolis: multicultural, cross-cultural, multi-lingual and brimming with ethnic argots and vernaculars. The teeming streets and bazaars, under a cloud of perpetual pollution and acid rain, are a labyrinth through which taciturn blade runner Deckard (Harrison Ford) hunts a quartet of renegade replicants led by Roy Batty (Rutger Hauer). The androids, made for off-world labour, have become conscious that they have a built-in life span and are trying to reach the head of the Tyrell Corporation that created them. Deckard’s mission brings him into contact with Tyrell (Joseph Turkell) and beautiful new-generation replicant Rachael (Sean Young), whose implanted memories leave her unaware of her artificial genesis. His romantic involvement with Rachael causes Deckard to look more closely at his own past. Based on Philip K Dick’s Do Androids Dream of Electric Sheep? this was, visually, one of the most influential films of the 1980s and produced impressive performances from Harrison Ford and Rutger Hauer and a haunting score by Vangelis. Batty’s last monologue was written by Hauer himself minutes before he went on set and gave his character, at the end, a humanity equal to that presumed of his pursuer: ‘I’ve seen things you people wouldn’t believe …. …. All those moments will be lost in time, like tears in rain. Time to die’. This edition is the recently re-mastered director’s cut — the original release had a tacked on voice-over from a protesting Ford and a ‘drive off into the sunset’ ending. No one knows why.

Blade Runner - The Final Cut / Ridley Scott

1982/2007. Colour. USA. DVD.

Release date 3rd December 2007. Following rapidly on from the re-mastered Director’s Cut (qv), this is promised to be Ridley Scott’s last, and definitive, visit to the edit studio. The 5-disc 25th anniversary box set is the ultimate collectors’ edition and includes all five versions of the film, including the first home video release of the pre-release Workprint. There are some 80 interviews with actors and filmmakers, background on author Philip K Dick, and recently re-discovered deleted and alternate scenes. The bonus features include a new feature-length documentary, Dangerous Days, from award winning producer Charles de Lauzirika. The best possible remedy for a wet weekend!

Blade Runner / Soundtrack Album

Format: 1 Disc. 12 Tracks.

Do Androids Dream of Electric Sheep? / Philip K Dick

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Diner / Barry Levinson

1982. Colour. USA. 110 mins. VHS.

Baltimore in the late 1950s is the scene for this comedy drama about a group of twenty-something guys who get together regularly at the local diner. Barry Levinson’s debut as writer/director tapped in to nostalgia for the world of his youth. Strangely, the film almost sank without trace despite a witty script, realistic dialogue, some fine comic moments and an accomplished cast that includes Steve Guttenberg, Mickey Rourke, Daniel Stern, Kevin Bacon, Tim Daly and Ellen Barkin. Splendid rock ‘n’ roll soundtrack.

Diner / Soundtrack Album

Format: 1 Disc. 20 Tracks.

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Silkwood / Mike Nichols

1983. Colour. USA. 126 mins. DVD.

Meryl Streep turns in an authentic performance as trailer-trash factory worker Karen Silkwood, who uncovers safety violations at her employers’ plutonium plant. Hard-drinking Silkwood lives in an unconventional ménage-a-trois with boyfriend Drew and girlfriend Dolly — strong portrayals from Kurt Russell and Cher. Between episodes of radioactive contamination her life is taken over with gathering evidence for her union. Silkwood was killed in a suspicious car accident on her way to hand over her evidence to a New York Times reporter.

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Amadeus / Milos Forman

1984. Colour. USA. 153 mins. DVD.

A musical and visual feast that tells the story of Wolfgang Amadeus Mozart through the eyes of ageing one-time rival Antonio Salieri (F Murray Abraham). Thirty years after the events he relates, Salieri makes his deathbed confession in an insane asylum. Embittered by the rise of the boorish prodigy and outraged by his talent, Salieri had set out to undermine Mozart’s standing at the Viennese Court. Tom Hulce and Elizabeth Berridge are unrestrained as the egocentric Amadeus and his wife Constanze. Peter Shaffer wrote the screenplay, based on his stage play, and contributes to the extras on this 2 disc special edition.

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Blood Simple / Joel & Ethan Coen

1984. Colour. USA. 95 mins. DVD.

Blood Simple marks the arrival, fully fledged, of a somewhat erratic new force in the shape of brothers Joel and Ethan Coen. Film noir melds seamlessly with horror throughout this first excursion into their downbeat world. The always reliable M Emmet Walsh is a sleazy private eye hired by sleazy strip club owner Dan Hedaya to kill his wife and her lover (Frances McDormand and John Getz). Walsh turns the tables on Hedaya and the complications begin. The intricate plot is carried forward by some virtuoso camera moves from Barry Sonnenfeld: the repeated sight and sound of ceiling fans create a throbbing thread of continuity; and a simple shot of a newspaper thrown at a screen door will shock you out of your seat! The Coens’ work repays close attention: the brothers are steeped in film history and lore, and references abound.

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The Cotton Club / Francis Ford Coppola

1984. Colour. USA. 123 mins. DVD.

A number of poorly knitted storylines make for confusion in a movie that could have made much more of its atmospheric setting — Harlem’s Cotton Club in the late 1920s and early 1930s. Dixie Dwyer (Richard Gere) is a jazz trumpeter (Gere played his own solos) involved with ambitious Vera Cicero (Diane Lane). Dixie’s brother Vincent (Nicholas Cage) has an uncomfortable connection to gangster Dutch Schultz (James Remar) and Dixie is drawn into the racketeering world after saving Schultz’s life. In parallel, black hoofer Sandman Williams (Gregory Hines) enjoys increasing success in a club that puts mainly Afro-American talent before exclusively white audiences that include mobsters and Hollywood stars. The virtue of the film lies in its production design, the production numbers that are reminiscent of film musicals of the 1930s, and in good performances by supporting actors — Remar makes a notable Dutch Schultz, and Bob Hoskins and Fred Gwynne also score in gangster roles. Compositions by Duke Ellington provide authentic background and Cab Calloway gives a magnificent fantasy rendering of Minnie the Moocher. For devotees of the music, our Jazz Store is under continual development.

The Cotton Club / Soundtrack Album

Format: 1 Disc. 15 Tracks.

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Once Upon a Time in America / Sergio Leone

1984. Colour. USA. 220 mins. DVD.

Drastically cut back to 140 minutes for release and now restored to the full sprawling and challenging original, Once Upon a Time in America demonstrates the final maturing of Sergio Leone’s ambition. The film cuts to and fro through the 20s, 30s and 60s, telling the story of a group of Jewish immigrants drawn into the underworld of Manhattan’s Lower East Side. A visual feast and filled with outstanding performances, especially from James Woods and Robert De Niro as lifelong friends. Elizabeth McGovern is the main love interest and there is support from Tuesday Weld and Joe Pesci. Leone’s Western style translates well to the gangster genre and his long term musical collaborator Ennio Morricone wrote the score.

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Repo Man / Alex Cox

1984. Colour. USA. 88 mins. DVD.

A post-modern punk oddity from the one-time presenter of the BBC’s old fringe movie programme Moviedrome. Emilio Estevez is initiated into the lucrative world of automobile repossessions by Harry Dean Stanton. In the meantime a lobotomised nuclear physicist is driving around with a mysterious glowing object in the boot of his Chevvie. Government agencies offer a substantial reward. Alex Cox rambles freely through film and literature for sources, with some obvious references to other classics of the dystopia genre. Cox’s novel counterblast against product placement adds to the air of unreality.

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Australian Cinema

Accomplished if conventional dramas from two directors on the eve of their departure to Hollywood.

Breaker Morant / Bruce Beresford

1980. Colour. Australia. 120 mins. DVD.

A solid and accomplished court-martial drama with undercurrents of political skulduggery, somewhat reminiscent of Paths of Glory (1957 qv). Three Australian soldiers serving with the British against the Boers are brought to trial after their summary execution of prisoners. The Aussies have been operating under unwritten orders and fighting a guerrilla war on the Boer’s own terms. However, one of the executed prisoners was a German citizen and the British are looking for scapegoats in order to maintain good relations with Germany. Edward Woodward fights against hypocrisy as Harry Morant and Jack Thompson is the officer with no courtroom experience who is cynically appointed to the defence. For a good general account of the conflict, see The Boer War by Thomas Pakenham, available from our Bookshop.

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Gallipoli / Peter Weir

1981. Colour. Australia. 107 mins. DVD.

An examination of friendship, patriotism and military incompetence placed against the background of the disastrous WWI Dardanelles campaign. Two young Australian amateur sprinters sign up for the army and become part of the ill-conceived and ill-fated enterprise designed to capture the approaches to Constantinople and the Black Sea. The landings are devastated by Turkish and German resistance and the troops are pinned down on the beachheads as a trench war stalemate develops, imitating the impasse on the Western Front. Peter Weir’s film evokes the horror of war through his portrayal of the landing and the battle that followed, although his distortion of the respective contributions of antipodean and British forces is highly questionable (and stimulated anti-British feeling in Australia). Mel Gibson and Mark Lee are the runners who join the ANZACS.

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The Year of Living Dangerously / Peter Weir

1983. Colour. Australia. 115 mins. VHS.

A love story set around the downfall of Indonesia’s President Sukarno. Mel Gibson is an ambitious reporter who arrives in Jakarta in 1965. He becomes romantically involved with British embassy attaché Sigourney Weaver, who warns him, in confidence, of the upcoming communist coup. Instead of leaving as Weaver had intended, Gibson betrays her confidence and files the story. The political intrigue is at times over-simplified and at times confusing, but the two leads turn out good performances. The real star, however, is Linda Hunt, who plays diminutive freelance photographer Billy Kwan. The manipulative Billy adopts Gibson from the outset, feeds him good local material and manoeuvres Gibson and Weaver into a relationship from which he derives vicarious satisfaction. Strangely there is no mention of the CIA’s involvement in the internal politics.

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Foreign Cinema

The cultural divergence between the Old and New Worlds is most obvious when European directors look across the Atlantic for inspiration or material.

Paris, Texas / Wim Wenders

1984. Colour. Fr/ Ger. 139 mins. DVD.

A European fascination with the endless vistas of the American west is manifest in the opening landscapes of Wim Wenders’s film. An apparently mute Harry Dean Stanton staggers out of the Texan desert after having been missing and presumed dead for four years. He is re-united with his brother (Dean Stockwell) and his seven-year-old son (Hunter Carson). Father and son embark on an odyssey that leads them to estranged wife and mother Nastassja Kinski. Stanton has the role of his lifetime as the robotic wanderer, Robby Muller’s cinematography seems grounded in the vision of John Ford and Ry Cooder lays down an echoing slide guitar score that includes Blind Willie Johnson’s Dark Was The Night, Cold Was The Ground (available from our Blues Store).

Paris, Texas / Soundtrack Album

Format: 1 Disc. 10 Tracks.

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