A STUDY IN TERROR (Dir: James Hill, 1965).

A STUDY IN TERROR (Dir: James Hill, 1965).

Fact and fiction collide as Sir Arthur Conan Doyle’s literary detective Sherlock Holmes pits his wits against infamous serial killer Jack the Ripper.

A mysterious medical kit with a distinct crest sets Holmes on the case of the notorious killer and of the prominent aristocratic family he suspects are involved. Taking in the back alleys of 1888 Victorian London and mixing with the lowlifes there in.

A Study in Terror presents us with a highly sanitised version of 1880s Whitechapel; the Ripper’s victims all beautiful with their 1960s coiffures. The movie does, on the surface, appear to be a bit of a romp and was misleadingly advertised as a Batman-esq spoof by US distributor Columbia Pictures. In actual fact the movie is, at times, a pretty grizzly affair.

Screenwriters Derek Ford and Donald Ford have crafted a tense, twisty thriller with moments of horror and plenty of jumps. Director James Hill’s innovative use of point-of-view shots give the murders an extra viscerality while keeping the identity of the killer a mystery. The movie does have a somewhat misogynistic tone, which is perhaps inevitable considering its subject.

John Neville has just the right austerity as Holmes while Donald Houston is an amiably bluff Watson. A fantastic supporting cast includes Brit acting legends Anthony Quayle, Robert Morley and Judi Dench. Best of all is Barbara Windsor as Ripper victim Annie Chapman. Slightly stepping outside of her Carry On... persona, she gives us an all too rare glimpse of her acting ability beyond the giggly, busty blonde stereotype.

With its misogyny and grim use of fictionalised real life murders, you can safely wave goodbye to good taste. Yet, in spite of my misgivings over content, I thoroughly enjoyed A Study in Terror. What, on the surface, threatens to be an exploitative, sensationalist shocker is actually a well produced thriller with a fine cast. Recommended especially to Holmes aficionados and fans of 1960s British cinema.

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THE DARK CRYSTAL (Dir: Jim Henson & Frank Oz, 1982).

Coming to Netflix on 30th August 2019 is The Dark Crystal: Age of Resistance the prequel to Muppets creator Jim Henson’s original fantasy epic The Dark Crystal. My inner 8 year old can barely contain his wee wee at the thought of this so, in anticipation, I revisited the original.


Believing he is the last of his elf-like Gelfling race, Jen sets out to fulfill a prophecy which foretells that a Gelfling will one day defeat the malevolent Skeksis who rule his homeland of Thra. Jen must locate and replace a missing shard from the mystical crystal from which the Skeksis draw their powers. Learning of the quest, the Skeksis will stop at nothing to deter Jen, having already murdered his kind for their own evil gains.


Co-directed by fellow Muppeteer Frank Oz, The Dark Crystal was seen as a major departure for Jim Henson. Along with conceptual artist Brian Froud, they created a beautiful, intricately detailed alien world populated solely by their elaborate puppet creations. The puppets, or Muppets, are exquisite creations, grotesquely beautiful and believably brought to life by the talented Muppet performers.

The overall tone of the movie is decidedly darker than that of The Muppet Show. However, I think its reputation as nightmare fuel is unwarranted. There is a lot of light to offset the dark and ultimately this is a positive tale with a uplifting message. There is also much humor; granted, it's not the knockabout humour of the Muppets, but the movie does have a lightness of touch that helps make the more sombre moments much more palatable for the young. I first saw The Dark Crystal at age 8 and survived. I would have no qualms about showing it to children of a similar age.


For those who have never seen this magical movie I wholeheartedly recommend it. The eagerly anticipated prequel will, apparently, not require you to be familiar with the original, but I would suggest you give it a watch anyway, simply because it is a fantastic piece of fantasy filmmaking.

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CANDLESHOE (Dir: Norman Tokar, 1977).


Walt Disney Poductions' Candleshoe is a comedy crime caper based upon Michael Innes' novel Christmas at Candleshoe.


Leaving the mean streets of Los Angeles, Casey Brown (Jodie Foster) heads to England to hustle the elderly Lady St Edmund (Helen Hayes) out of her dilapidated stately home Candleshoe. Within Candleshoe lays the hidden treasure of pirate Captain St Edmund to which Casey holds the first clue. In cahoots are disgraced former Candleshoe employee Clara (Vivien Pickles) and her brother Bundage (Leo Mckern) who masterminds the misdemeanour. Welcomed into the Candleshoe family, Casey turns the tables on Bundage and sets about the treasure hunt with intent to save the debt racked estate from foreclosure.


A first rate cast was assembled for this production. 15 year old Jodie Foster was fresh from her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976). She does excellent work here too and it is to her credit that she is not overshadowed by the acting heavyweights in support. Most notably David Niven, donning multiple disguises as butler, gardener, chauffeur and a visiting Colonel, in what is perhaps his best late career role.

A neat premise also lifts the movie above the usual formulaic fluff the Disney Studios were producing in the late 70s. Rosemary Anne Sisson's and David Swift's screenplay mixes humour and excitement as the race is on to recover the spoils before the bad guys. Norman Tokar directs at a surprisingly steady pace, but one that allows the mystery to unfold and for characters to develop so that Casey's change of heart is completely believable.


Candleshoe’s view of a genteel England of stately homes and steam trains must have seemed downright archaic in 1977. However, in 2019 it feels innocent and charming; nostalgic for an idealised period in British history which never really existed.


With a superior story and a distinguished cast Candleshoe is easily a highlight of the Disney Studios' live-action catalogue. Equally entertaining for children and adults, this treasure hunt movie is a gem.

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RIP Richard Williams.

THE MAN IN THE WHITE SUIT (Dir: Alexander Mackendrick, 1951).

Ealing Studios were on fine form in 1951, producing two classic comedies. The Lavender Hill Mob (Charles Crichton) released in June, was followed two months later by possibly the greatest Ealing comedy of all, The Man in the White Suit.


Set in the textile mills of the north of England, The Man in the White Suit tells of Sidney Stratton (Alec Guinness), a research chemist who delivers a new wonder fabric. Indestructible and dirt repellent, the miracle fabric initially has Sidney lauded a genius. However, once the ramifications of such a product become clear, both mill owners and trade unions are keen to suppress Sidney and his invention.


In some repects, The Man in the White Suit in atypical of the Ealing Comedies. It shares with the others the broad theme of the individual vs the Establishment, but here seems to be taking a swipe at trade unions and the common man. In actuality its view of big business and commercialism is just as critical. Yet here, the 'little guy against the system' is a more ambiguous figure than usual. Although Sidney's noble ambition to clothe the world in indestructible fabric is a commendable one, ultimately the price of doing so would come at too great a cost. As his landlady remarks "What's to become of my bit of washing when there's no washing to do?" On the flipside of this is the wealthy mill owners whose greed sees them clamouring for Sidney's invention before attempting to suppress it, initially with bribes, then with more underhanded means. Business and labour eventually side with each other as poor Sidney is chased through the dark streets with his suit glowing luminous white! While the audience sympathy undoubtedly lies with Sidney, we are not too sorry at his inevitable downfall.


Thankfully, social commentary does not get in the way of this being a very funny film. The astute screenplay by John Dighton, Roger MacDougall and Alexander Mackendrick nicely balances the two opposing sides of industry with equal satirical bite. Mackendrick directs at brisk pace, creating a real feeling of suspense in the final moments.


Alec Guinness, arguably the greatest comic actor all time, is excellent here. His childlike optimism offsetting the cynical nature of the film. While Sidney’s blinkered belief in his invention is foolhardy, Guinness never portrays him as foolish, eliciting audience sympathy for a character who could have easily evoked derision. Reunited with Guinness is his Kind Hearts and Coronets (Robert Hamer, 1949) leading Joan Greenwood, equally effective here as his chaste love interest.

The Man in the White Suit walks a thin line between cynical satire and offbeat whimsy, but it does so with ease. I would argue it is the greatest of the Ealing comedies and an absolute comedy masterpiece. Highly recommended to anybody with the slightest semblance of a sense of humour.

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WHITE FANG 2: MYTH OF THE WHITE WOLF (Dir: Ken Olin, 1994).

Walt Disney Pictures’ action/adventure sequel to their 1991 hit White Fang (Randall Kleiser).

White Fang told the story of Jack Conroy (Ethan Hawke) and his adventures during the Klondike Gold Rush with the wolfdog of the title. White Fang 2 picks up with Jack now in San Fransisco having left White Fang in the care of his friend Henry Casey (Scott Bairstow). Nearly drowning in a boating accident, Henry is rescued by Lily Joseph (Charmaine Craig) of the native Haida village. Lily Joseph believes Henry to be the human form of a mythical white wolf sent to help her starving tribe. Henry decides to help the Haida locate the caribou while also dealing with a corrupt mining organisation who are exploiting the Haida.

Published in 1906 Jack London's White Fang was a partly autobiographical novel inspired by his experiences in the Klondike. A sequel to a film based on an iconic literary work is unusual. It also seems a little unnecessary, especially one that largely deals with a different set of characters.

His uncredited appearance, limited to the prologue, suggests that Ethan Hawke declined a larger role in the film. As his replacement Scott Bairstow is a somewhat bland leading man and looks like he would be more comfortable in a 90s boy band than in the Klondike. In fairness, the role demands little of him, other than looking pretty while carrying out some mild heroics. Meatier roles are given to Alfred Molina and Geoffrey Lewis as the bad guys, but in general the movie suffers from too much focus on the humans and not enough of the magnificent White Fang; the beautiful half dog/half wolf reduced to supporting player in his own movie.


White Fang 2 is not without entertainment value. Its old fashioned adventure story is pleasant but unspectacular. Those young enough to forgive its simplistic storytelling will enjoy it but older audiences will be wishing this canine caper had a little more bite. Worth a look, especially if you enjoyed the original but, ultimately a bit of a disappointment.

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