It Doesn't Have To Be Right…

… it just has to sound plausible


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Wait, fantasies in space? How does that work?

It looks like this film challenge thing I’m doing with Shaun Duke is becoming a regular, er, thing. After he met my last challenge of five films which complement my Apollo Quartet – see here – he tasked me with coming up with a list of “5 science fiction films which are basically fantasies in space, but which are not Star Wars. Ugh. That are “in your opinion and by your own criteria, good movies“. I suspect this is not possible – in fact, I know it’s not – so I’m going to cheat a little and pick films that are either good within the confines of their genre, or enjoyable irrespective of their quality. Because you’re not going to get some cheesy space fantasy that stands up there with anything by Tarkovsky or Bergman or Haneke or Kaurismäki or Sokurov or… Well, you get the, er, picture.

As for “fantasies in space”… yes, well, if not Star Wars is part of the definition then it must mean dumb space operas. And I can think of many examples, but they are almost universally pretty bad. There are no doubt lots of Japanese anime examples, and some of them may even be very good, but I’m not that familiar with anime.

Anyway, after much scratching of head and rootling through my DVD collection, I came up with following five. A couple may be obvious, one or two may invoke cries of shocked disbelief, and for a few I had to take “space fantasy” to mean “complete science fiction bollocks”.

johncarterJohn Carter, Andrew Stanton (2012). The obvious choice, and one that will no doubt have a few of you choking on your doughnuts. I loved this film from the moment I saw it in IMAX 3D, and I’ve watched it several times since on DVD. The production design is gorgeous, the CGI is seamless (the Tharks actually look almost real!), and the script is polished, with a structure which is far more sophisticated than the material deserved. It’s a crying shame Disney decided to sink it because it could have been the start of a bloody good franchise. But instead we’re going to get endless shit superhero movies, a vast cinematic retconning of the Star Wars universe, and increasingly dumber Star Trek sequels. Yay for tentpole sci-fi blockbuster movies…

flashFlash Gordon, Mike Hodges (1980). There’s much that cringe-worthy in this film, from the Queen soundtrack (there, I said it) to the cheesy dialogue to half the cast clearly belonging in a much superior film to completely non-entity Sam Jones in the title role. Having said that, you won’t find more sci-fic pomp and silliness in any other movie. Von Sydow, Wyngarde and Dalton plainly belong in a much better film; Topol, Muti and Blessed seem to have found their level. Melody Anderson actually makes a good Dale Arden. It is, in fact, hard to fault Flash Gordon as a piece of cheesy sf camp, but it’s a mistake to consider it anything more than that (and unlike some people, I ask more of my movies and books than they be mere entertainment).

planete_sauavageLa planète sauvage, René Laloux (1973). No film list put together by myself would be complete without at least one non-Hollywood film. While this is not usually difficult to achieve, for “fantasies in space” it’s proven something of a hurdle. I mean, only the US makes cheesy space operas. But I believe La planète sauvage qualifies because, while it initially describes an alien world in which primitive humans exist only in the wild, it soon turns weird and philosophical and all sort of wishy-washy and bonkers. The animation and production design throughout is distinctive and strange – it’s by Roland Topor – but it suits the story. Laloux’s later animated films were a bit Métal Hurlant, but La planète sauvage displays a unique vision. Definitely worth getting hold of a copy.

duneDune, David Lynch (1985). Heresy! Dune as a “fantasy in space”? I mean, I’ve always considered Dune science fiction, in space or otherwise, and I see no good reason to change that since it meets my definition of the genre. But since I also consider Star Wars science fiction, I feel this makes Dune allowable under Shaun’s somewhat baggy definition. And yes, Dune is a good film, and only fails at being a great film because the director couldn’t match his vision. But there are clues there if you watch the “television version” (which includes around an additional 45 minutes). It’s not so much the additional story that’s on the screen, and it’s certainly not the horrible prologue with its awful artwork. But the extended scenes set in the Imperial Court display an overly mannered presentation that works at the lengths shown in the television version much better than it does in the theatrical release. Plus, of course, the production design is superb. In fact, I’ll even forgive Lynch the “weirding module” and the rain at the end because everything looks so much like Dune should look. I currently own five DVD editions of Dune, so it’s probably about time I got it on Blu-ray. But which is the best Blu-ray version…?

battleBattle Beyond the Stars, Jimmy T Murakami (1980). Space operas – sorry, “fantasies in space” – don’t come cheesier than this rip-off of Star Wars. But it does possess a certain charm all its own, whether it’s because its plot is a beat-by-beat copy of The Magnificent Seven, or that the hero’s spaceship looks like a pair of breasts, or Sybil Danning’s double entendres, or the fact George Peppard was clearly pissed throughout the film, or that the entire thing looks like a series of episodes from a bad sf television series. But as low budget space operas go, it’s an enjoyable example. And Richard Thomas actually displays some impressive acting chops. The fact the script is by John Sayles also helps.

There are a number of other films I could have chosen, but it would have been stretching a point beyond breaking to describe them as “good” – such as… The Humanoid, Aldo Lado (1979), in which Richard Kiel plays the title role in an Italian Star Wars rip-off with production design that’s a weird mashup of 1970s near-future science fiction, Star Wars and Flash Gordon… Or Starcrash, Luigi Cozzi (1978), which manages to make zero sense but does include the immortal line, “Imperial battleship, halt the flow of time!”… Or Barbarella, Roger Vadim (1968), which has not aged well despite being based on a French bande dessinée… Or even Andrzej’s Żuławski’s Na srebrnym globie (On the Silver Globe)… Or spaghetti sci-fi Star Pilot, Pietro Francisci (1966), which apparently inspired some elements of Star Trek…

ETA: After much thought, I’ve decided on Shaun’s challenge. Five non-English language films featuring space travel, not including Solaris. Oh, and no more than two of them from Japan.


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Behind the Iron Screen

It all started quite innocently enough. Shaun Duke posted a list of something or other on his blog, The World in the Satin Bag. I pointed out he was wrongheaded. He challenged me to produce a rival list, which I did. I challenged him to produce a list… and by this point I’ve forgotten whether we were originally discussing books or films. I’ve a feeling we started off with books but somehow drifted onto films. Anyway, he responded to my challenge and issued one of his one own, which I met. And then I challenged him to produce – and I think this is the point we’re at now – a list of five Cold War-related genre films that most people would not have heard of. Which he did. And now he has demanded that I do the same, but from the other side of the Iron Curtain. So, five Warsaw Pact Cold War-related genre films, of which at least three must be from the USSR/Russia…

Happily, I immediately thought of several possible movies. The only question was whether they qualified as Cold War-related. Or as genre. And having to choose three of the five from the Soviet Union did somewhat limit my choices. So it was more a matter of picking which five to put on my list than it was actually finding five. And here they are, in no particular order…

Sacrifice_Offret (The Sacrifice), Andrei Tarkovsky (1986, Sweden). The absolutely obvious choice. It’s about a nuclear war, so you can’t get more Cold War than that. Okay, it was filmed in Sweden with a Swedish cast, but Tarkovsky is arguably the most famous film director to have come out of Russia, so in my mind it counts as a Russian film. So there. An ex-actor, played by Bergman regular Erland Josephson, lives in a nice house on a remote Swedish island with his wife. After admitting he no longer believes in God, news reaches Josephson of all-out nuclear war. He vows to sacrifice all he owns and loves if God will undo the nuclear holocaust. Unsurprisingly, this is quite a harrowing film, but it is also Tarkovsky… and you cannot call yourself a cineaste if you do not love Tarkovsky’s movies.

starsbyhardwaysЧерез тернии к звёздам (To the Stars by Hard Ways), Richard Viktorov (1981, USSR). The Cold War link is less obvious in this famous Russian sf film, but given that it concerns an ecological war between two groups on an alien world – and in which humans become involved after rescuing the bizarre-looking Yelena Metyolkina – there’s clearly a parallel. Admittedly, the rescue mission is multi-national, but then socialist films liked to show the world’s nations working together, even if the West has always been resistant to the idea (US films, for example, always show the US doing everything) . Ruscico currently sell a copy of this on DVD. It’s completely bonkers but worth getting. I’ve heard the director’s son has released a director’s cut of the film, but to my knowledge it’s only available in Russian and my knowledge of that language is limited to a handful of pleasantries and swear words.

testpilotpirxДознание пилота Пиркса (Inquest of Pilot Pirx), Marek Piestrak (1978, USSR/Poland). Pirx was created by Polish sf writer Stanisław Lem, so there’s no doubting this film’s genre credentials; and while it’s a joint production between studios in Poland, Ukraine and Estonia, the latter two were in the USSR when the movie was made, so it counts. It’s another socialist film which presents an international crew, but there are still two sides engaged in a form of Cold War: humans and androids. Pirx must captain a ship on a space flight Saturn. One of his crew is an android, but he doesn’t know which one – and once at their destination, it tries to seize control. A weird mix of Cold War thriller, with an amazing seventies aesthetic, and hard sf, this is another DVD worth getting. Again, it’s available from Ruscico.

noendBez końca (No End), Krzysztof Kieślowski (1985, Poland). This is in no way science fiction, and it’s only Cold War-related inasmuch as its story takes place during the years of martial law in Poland after Solidarność was banned. A translator, whose lawyer husband died recently, struggles to make ends meet and bring up her son, while the ghost of her dead husband watches over her. But it’s Kieślowski, that’s all you need to know. You cannot call yourself a cineaste if you do not love Kieślowski’s movies.

in_the_dust_of_the_starsIm Staub der Sterne (In the Dust of the Stars), Gottfried Kolditz (1976, East Germany). During the 1960s and 1970s, East Germany’s Deutsche Film-Aktiengesellschaft, DEFA, made four big budget science fiction films: Signale – ein Weltraumabenteuer (1970), Der Schweigende Stern (1960), Im Staub der Sterne and Eolomea (1972). The last three are available in an English-language DVD box set, but I’ve yet to find the first in an English edition (and my German is a bit rusty – I struggled when watching Raumpatrouille Orion). In Im Staub der Sterne, a spaceship lands on a rescue mission on the world of TEM 4, only for the inhabitants to deny sending a distress call. Except there are two groups on TEM 4 in a sort of Eloi / Morlock relationship, as the crew discover, and it’s not hard to read it as an Eastern Bloc versus decadent West sort of thing. The film is also astonishingly kitsch, with some of the most bonkers seventies production design ever consigned to celluloid. Hunt down that DEFA collection box set, it’s totally worth it.

szulkinO-Bi, O-Ba. Koniec cywilizacji (O-Bi, O-Ba. The End of Civilisation), Piotr Szulkin (1985, Poland). Just because I can, I’m going to make my list six films. Mostly because this movie is so on point, it didn’t deserve to be an also ran – and yet I also wanted to include the ones I’d already chosen. O-Bi, O-Ba. Koniec cywilizacji is set entirely in an underground fallout shelter after some sort of nuclear holocaust – except there’s more going on than there initially seems. The shelter is not the shiny clean antiseptic complex you’d expect of a US Cold War movie, but a dirty ill-lit dungeon, a sort of confined post-apocalyptic wasteland in its own right. There’s a very black joke about the currency used in the shelter (Szulkin’s films all possess an amazingly dark humour). Telewizja Kinopolska have released a DVD box set containing O-Bi, O-Ba. Koniec cywilizacji, Wojna światów – następne stulecie (War of the Worlds – The Next Century, 1981), and Ga, Ga. Chwała bohaterom (Ga, Ga. Glory to Heroes, 1984), as well one of my favourite films, a 1993 short titled Mięso (Ironica), about the political history of Poland during the twentieth century and, er, meat products.

The also-rans? There’s Béla Tarr’s 2000 movie Werckmeister Harmonies from Hungary, which is about the Soviet occupation of Eastern Europe, but the film might have been a little hard to justify on genre grounds. Andrzej’s Żuławski’s Na srebrnym globie (On the Silver Globe, 1988) is definitely science fiction, but given that it’s adapted from a 1903 novel its Cold War credentials are a little harder to see – but Żuławski adapted the story so it read as a criticism of the Polish authorities… which they managed to spot and so shut down the production (the film was eventually completed ten years later, using stock footage and voice-over narration). Кин-дза-дза! (Kin-dza-dza!, 1986) by Georgiy Daneliya is a 1986 sf film in which a pair of Soviet innocents are dumped on a desert world in which two societies, the Chatlanians and the Patsaks, exist in near-conflict (which seems to be a common trope in Soviet sf cinema). And finally, there’s Pane, vy jste vdova! (You are a Widow, Sir!, 1971) by Czech director Václav Vorlíček, which is a sort of madcap and very silly sf comedy, involving assassins and brain transplants in an invented country, but it might be stretching the point to call it a Cold War film.


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Best sf films since 2000

So Shaun Duke says Interstellar is one of the best sf films of this century and I’m like no way and he’s like way and so he challenges me to produce my own list of top ten sf films of the last fourteen years… And it’s actually quite difficult as I can think of two dozen off the top of my head that are better than Interstellar, but I have to whittle it down to only ten. Which I did. And here they are…

1 Cargo, Ivan Engler & Ralph Etter (2009) I’m surprised this film isn’t better known. Perhaps it makes a little too free and easy with some well-known tropes, but this Schweitzer Deutsch production puts them to excellent use, and still manages to ring some changes.

2 Avalon, Mamoru Oshii (2001) A Japanese film made in Poland with a Polish cast. It looks amazing, and the VR game plot with its layers of realities seriously messes with your head.

3 Primer, Shane Carruth (2004) Probably the best time travel film ever made. And it’s impossible to work out the plot.

4 Under The Skin, Jonathan Glazer (2013) An improvement on the book. Shot guerilla-style in Glasgow, with Scarlett Johansson as an enigmatic alien.

5 John Carter, Andrew Stanton (2012) Commercially a flop, but there’s much to like in this tentpole blockbuster – it looks gorgeous, the script is far smarter than the material had any right to expect, and the cast all play good turns.

6 Sky Captain and the World Of Tomorrow, Kerry Conran (2004) A CGI-fest which makes perhaps too much of a feast of its source material – while the pulp production design looks wonderful, the pulp narrative didn’t sit well with modern audiences.

7 Dredd, Pete Travis (2012) Who knew an art house version of the Mega City One lawmaker would work so well?

8 Upstream Colour, Shane Carruth (2013) Elliptical and even more of a mind-fuck than Primer.

9 Timecrimes, Nacho Vigalondo (2007) More time paradoxes than you can shake a reasonably large Moebius loop at.

10 Sound of My Voice, Zal Batmanglij (2011) A  clever study of the cult mentality, with Brit Marling as a “prophet” from the future.

Honourable mentions: Apollo 18 (2011), amazingly accurate rendition of an Apollo mission, with monsters; Gravity (2013), not quite as accurate, no monsters either; Possible Worlds (2000), odd and under-stated many worlds thriller; Natural City (2003), frenetic Korean cyberpunk actioner; Time Of The Wolf (2003), Haneke does post-apocalypse.


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Ian’s greatest films

After seeing the BFI greatest films list, I thought it might be an interesting exercise to put together a list of my own. Obviously, I’ve not watched every film ever made, and my tastes probably lean in a certain direction cinematically – I don’t, for example, see the appeal of the films of either Kurosawa or Ozu. Anyway, here – for what it’s worth – is my pick of the fifty greatest films – that I have seen – ever made. I tried to go for a little variety, instead of just listing half a dozen films each by my favourite directors. It’s certainly a more international list than the BFI one.

1. All that Heaven Allows, Douglas Sirk, 1955
2. Mirror, Andrei Tarkovsky, 1975
3. The Colour of Pomegranates, Sergei Parajanov, 1968
4. Divine Intervention, Elia Suleiman, 2002
5. Red Desert, Michelangelo Antonioni, 1964
6. Metropolis, Fritz Lang, 1927
7. Rear Window, Alfred Hitchcock, 1954
8. Autumn Sonata, Ingmar Bergman, 1978
9. No End, Krzysztof Kieslowski, 1984
10= Brazil, Terry Gilliam, 1984
10= Mooladé, Ousmane Sembène, 2004
12. 8½, Frederico Fellini, 1962
13. Red Psalm, Miklós Jancsó, 1972
14. Sunrise: A Song of Two Humans, FW Murnau, 1927
15. The Piano Teacher, Michael Haneke, 2001
16. Alien, Ridley Scott, 1979
17. Passenger, Andrzej Munk, 1963
18= Stalker, Andrei Tarkovsky, 1979
18= 2001: A Space Odyssey, Stanley Kubrick, 1968
20. Imitation of Life, Douglas Sirk , 1959
21. The Holy Mountain, Alejandro Jodorowsky, 1973
22. Aguirre, Wrath of God, Werner Herzog, 1972
23. Delicatessen, Jean-Pierre Jeunet & Marc Caro, 1991
24. Daratt, Mahamat-Saleh Haroun, 2006
25= Lady Chatterley, Pascale Ferran, 2006
25= The Seventh Seal, Ingmar Bergman, 1957
27. Citizen Kane, Orson Welles, 1941
28. On the Silver Globe, Andrzej Żuławski, 1988
29. Things to Come, John Cameron Menzies, 1936
30. Drifting Clouds, Aki Kaurismäki, 1996
31. Fahrenheit 451, François Truffaut, 1966
32. Rio Bravo, Howard Hawks, 1959
33= Underground, Emir Kusturica, 1995
33= The Bothersome Man, Jens Lien, 2006
35. Das Boot, Wolfgang Peterson, 1981
36. La Jetée, Chris Marker, 1962
37. The Man Who Fell to Earth, Nicolas Roeg, 1976
38. High Society, Charles Walters, 1956
39. Russian Ark, Alexander Sokurov, 2002
40. Blade Runner, Ridley Scott, 1982
41. Atanarjuat the Fast Runner, Zacharias Kunuk, 2001
42= Went the Day Well?, Cavalcanti, 1942
42= The Third Man, Carol Reed, 1949
44. Secret Ballot, Babak Payami, 2001
45. Lawrence of Arabia, David Lean, 1962
46. Starship Troopers, Paul Verhoeven, 1997
47= The Right Stuff, Philip Kaufman, 1983
47= The Life and Death of Colonel Blimp, Michael Powell & Emeric Pressburger, 1943
49, It’s a Wonderful Life, Frank Capra, 1946
50. Mulholland Dr., David Lynch, 2001


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BFI greatest films

Has no one turned this into a meme yet? Then allow me… At the beginning of the month, Sight & Sound, the magazine of the British Film Institute published its list of the 50 greatest films. It caused a little bit of a stir because Vertigo bumped Citizen Kane from the top spot, a position it’s held for fifty years.

Anyway, meme – you know what to do. Put it in bold if you’ve seen it, italics if you own it but have yet to watch it.

1. Vertigo, Alfred Hitchcock, 1958
2. Citizen Kane, Orson Welles, 1941
3. Tokyo Story, Ozu Yasujiro, 1953
4. La Règle du jeu, Jean Renoir, 1939
5. Sunrise: A Song of Two Humans, FW Murnau, 1927
6. 2001: A Space Odyssey, Stanley Kubrick, 1968
7. The Searchers, John Ford, 1956
8. Man with a Movie Camera, Dziga Vertov, 1929
9. The Passion of Joan of Arc, Carl Dreyer, 1927
10. , Federico Fellini, 1963
11. Battleship Potemkin, Sergei Eisenstein, 1925
12. L’Atalante, Jean Vigo, 1934
13. Breathless, Jean-Luc Godard, 1960
14. Apocalypse Now, Francis Ford Coppola, 1979
15. Late Spring, Ozu Yasujiro, 1949
16. Au hasard Balthazar, Robert Bresson, 1966
17= Seven Samurai, Kurosawa Akira, 1954
17= Persona, Ingmar Bergman, 1966
19. Mirror, Andrei Tarkovsky, 1974
20. Singin’ in the Rain, Stanley Donen & Gene Kelly, 1951
21= L’avventura, Michelangelo Antonioni, 1960
21= Le Mépris, Jean-Luc Godard, 1963
21= The Godfather, Francis Ford Coppola, 1972
24= Ordet, Carl Dreyer, 1955
24= In the Mood for Love, Wong Kar-Wai, 2000
26= Rashomon, Kurosawa Akira, 1950
26= Andrei Rublev, Andrei Tarkovsky, 1966
28. Mulholland Dr., David Lynch, 2001
29= Stalker, Andrei Tarkovsky, 1979
29= Shoah, Claude Lanzmann, 1985
31= The Godfather Part II, Francis Ford Coppola, 1974
31= Taxi Driver, Martin Scorsese, 1976
33. Bicycle Thieves, Vittoria De Sica, 1948
34. The General, Buster Keaton & Clyde Bruckman, 1926
35= Metropolis, Fritz Lang, 1927
35= Psycho, Alfred Hitchcock, 1960
35= Jeanne Dielman, 23 quai du Commerce 1080 Bruxelles, Chantal Akerman, 1975
35= Sátántangó, Béla Tarr, 1994
39= The 400 Blows, François Truffaut, 1959
39= La dolce vita, Federico Fellini, 1960
41. Journey to Italy, Roberto Rossellini, 1954
42= Pather Panchali, Satyajit Ray, 1955
42= Some Like It Hot, Billy Wilder, 1959
42= Gertrud, Carl Dreyer, 1964
42= Pierrot le fou, Jean-Luc Godard, 1965
42= Play Time, Jacques Tati, 1967
42= Close-Up, Abbas Kiarostami, 1990
48= The Battle of Algiers, Gillo Pontecorvo, 1966
48= Histoire(s) du cinéma, Jean-Luc Godard, 1998
50= City Lights, Charlie Chaplin, 1931
50= Ugetsu monogatari, Mizoguchi Kenji, 1953
50= La Jetée, Chris Marker, 1962

I make that 36 I’ve seen out of the fifty. There are also some of my favourite directors on there too, like Tarkovsky, Hitchcock and Antonioni. There are a few I’m surprised not to see, such as Antonioni’s Red Desert; not to mention works by directors such as Kieslowski, Sirk, Lean or Herzog. I also note that only two sf films make the list – 2001: A Space Odyssey and Metropolis.


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Ten Greatest Film Directors

Time for a list. Lists are good. People like lists, even – or especially – contentious ones. This does not make me a blogposer (see here).

I could have titled this list Ten Favourite Film Directors, because that’s sort of what it is. Except they’re not just favourites, they’re also directors whose skill and artistry I greatly admire. Just because something is a favourite, that doesn’t necessarily mean I think it’s good. Like Frank Herbert’s Dune – it’s probably the one novel I’ve reread more than any other, but I don’t think it’s an especially well-written book.

Anyway, here is a list of film directors whose films I both like a great deal and admire a great deal; in no particular order:

  1. Alfred Hitchcock – the master of the thriller, whose films are the most consistently entertaining of all time. He has several absolute classics to his name, which is more than most directors can say: Psycho, Vertigo, Rear Window, North By Northwest, The Birds
  2. Douglas Sirk – was to the melodrama what Hitchcock was to the thriller. All That Heaven Allows is one of the great films of the 1950s. His films were melodramatic, but also deeply subversive. And very, very cleverly made.
  3. Krzysztof Kieślowski – created some of the most exquisitely-made films, photography and script, in the history of cinema.
  4. Andrei Tarkovsky – his films were unlike any other film-maker’s. Beautifully-shot, for a start. And resolutely challenging, in a medium which privileges accessibility.
  5. Michael Haneke – because, of all the directors currently making films, he has the most interesting body of work – in the sense of his approach to telling stories using the medium.
  6. Ingmar Bergman – if most cinema can be equated to popular written fiction, then Bergman was an accomplished writer of prize-winning literary fiction.
  7. Terry Gilliam – because he has one of the most singular imaginations in the film-making world.
  8. Michangelo Antonioni – another director who experimented with the narrative techniques of the form, with great success. L’Avventura remains a classic piece of cinema.
  9. Aki Kaurismäki – Finnish cinema may be unfairly characterised as grim and depressing, but even the grimmest of Kaurismäki’s films display a sly and absurd sense of humour. He remade Hamlet, recasting the title character as the heir to an international rubber duck manufacturing concern, for example.
  10. The “Archers”: Michael Powell & Emeric Pressburger – made three of the best British films of all time: A Matter Of Life And Death, The Life And Death Of Colonel Blimp, and The Red Shoes. And there are plenty more in their oeuvre.

A few who didn’t quite make the cut into the top ten: David Lynch, Fritz Lang, Werner Herzog, Frank Capra.

Feel free to add your own lists in the comments. No doubt there will be some disagreements…

Next up: ten greatest novelists.


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20 British sf films

I had this really good idea for a post, a sort of companion piece to my British sf Masterworks. Films… Science fiction films… British science fiction films. How about a list of the best twenty-five sf films from the UK? Everyone likes lists.

Except… I couldn’t find twenty-five good British sf films – either that I’d seen or that I’d would be willing to hold up as good cinema. So I picked twenty. And, to be honest, there are a few on the list that stretch the definition of “good” somewhat. There are also a few that do the same with “British”… Kubrick was American, as are Gilliam and Hyams; and Truffaut is French. And some of the films were made with US money, requiring US actors in the starring roles – but they were British productions, so they count for this list.

No doubt I’ve forgotten lots of really good sf films from the UK, so feel free to leave a comment and suggest some. But here is my list, in order of year of release:

1 – Things To Come, dir. William Cameron Menzies (1936) – there’s not much you can say about this. It’s an astonishing piece of cinema, especially given when it was made.
2 – The Quatermass Xperiment, dir. Val Guest (1955) – Quatermass had a powerful impact on British sf, so one of the three films featuring him deserves to make this list.
3 – The Day The Earth Caught Fire, dir. Val Guest (1961) – not only a disaster film, caused by testing nuclear weapons, but also a post-apocalypse film. The shots of empty cities remain creepy even today.
4 – First Men In The Moon, dir. Nathan H Juran (1964) – the recent Gatiss adaptation on BBC4 was entertaining, but there’s a bonkers charm to Lionel Jeffries’ portrayal of Professor Cavor.
5 – Daleks Invasion Earth 2150AD, dir. Gordon Flemyng (1966) – back when Daleks were cool, they drilled a hole to the centre of the Earth so they could replace it with an engine and turn the whole planet into a spaceship. And they did it in Britain. Until Bernard Cribbins stopped them. With a bit of help from Dr Who.
6 – Fahrenheit 451, dir. François Truffaut (1966). The book is rubbish, but the film is excellent. Casting Julie Christie in two roles was inspired. And the monorail is really cool too.
7 – Frozen Alive, dir. Bernard Knowles (1966) – an Anglo-German production, set in Germany, in which a scientist, well, he freezes himself. But his wife is murdered while he is frozen, and he’s the chief suspect. It sounds daft, but it works.
8 – They Came From Beyond Space, dir. Freddie Francis (1967) – and the plot of this one seems even dafter: meteorites land throughout the UK and take over people, who subsequently build an armed camp in southern England. This is so they can send rockets to the Moon, launched from underneath a lake, to help repair the alien spaceship marooned there.
9 – A Clockwork Orange, dir. Stanley Kubrick (1968) – Kubrick may have been an American but this film was as British as you can get – from Anthony Burgess’s source novel through to the cast and crew.
10 – Journey To The Far Side Of The Sun, dir. Robert Parrish (1969) – Gerry Anderson’s only live-action feature film, although some of the cast were as wooden as his puppets. The central conceit – a copy of the Earth on the other side of the Sun, where everything is reversed – is complete nonsense, but all those Meddings model shots make up for it.
11 – 2001: A Space Odyssey, dir. Stanley Kubrick (1971) – Kubrick gets two films on this list because A Clockwork Orange is too British to leave off, and 2001: A Space Odyssey is too damn good to ignore.
12 – The Man Who Fell To Earth, dir. Nicolas Roeg (1976) – Bowie was perfectly cast. Any film that can say that deserves to be on this list.
13 – Flash Gordon, dir. Mike Hodges (1980) – it’s like a panto. In space. With Brian Blessed. Three reasons why it belongs on this list.
14 – Outland, dir. Peter Hyams (1981) – there’s not much that’s British about High Noon set on a moon of Jupiter (although without Grace Kelly). This was actually a British production, however.
15 – 1984, dir. Michael Radford (1984) – qualifies in the same way A Clockwork Orange does. It’s also an excellent adaptation of Orwell’s novel.
16 – Brazil, dir. Terry Gilliam (1985) – could be 1984 from an alternate Britain. It’s as British as Orwell’s novel, but… funny. Absurd, in fact. Which is the only other sane response to Nineteen Eighty-four.
17 – Sliding Doors, dir. Peter Hewitt (1997) – it’s about the Many Worlds Hypothesis… Well, sort of. It’s a romance, a fluffy version of Kieslowski’s Blind Chance, in which catching a train or not causes the story to split into two separate narratives.
18 – 28 Days Later, dir. Danny Boyle (2002) – zombies that can run. Enough said.
19 – Code 46, dir. Michael Winterbottom (2003) – is one of those films which seems to inhabit a near-future which already exists. It also asks some difficult questions about biotechnology.
20 – Moon, dir. Duncan Jones (2009) – I wrote about this here.

So, what films have I missed off?

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