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Film and television through a phosphorescent screen and electron beams
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THE SERVANT (1963)
THE SERVANT (1963)
In their first film collaboration Joseph Losey and Harold Pinter explore the cracks in the veneer of English social class and sexuality
Frank Collins
Sep 3
VAMPIRE CIRCUS (1972)
VAMPIRE CIRCUS (1972)
Hammer’s circus horror brimming with shape-shifting vampires, surreal imagery, feverish eroticism and gore.
Frank Collins
Jul 10
SOLDIER AND ME (1974)
SOLDIER AND ME (1974)
Realism, class and landscape in Granada Television’s adaptation of Lionel Davidson‘s young adult fiction ‘Run For Your Life’.
Frank Collins
Apr 28
DRACULA PRINCE OF DARKNESS (1966)
DRACULA PRINCE OF DARKNESS (1966)
Director Terence Fisher revives Christopher Lee’s Dracula for Hammer’s lush, atmospheric sequel.
Frank Collins
Apr 7
THE MAN IN THE WHITE SUIT (1951)
THE MAN IN THE WHITE SUIT (1951)
Ealing’s evergreen satire on commerce and manufacturing, industrial relations, progress and class.
Frank Collins
Mar 22
CORONATION STREET: An Evening with Tony Warren
CORONATION STREET: An Evening with Tony Warren
Granada Television’s ‘little experiment’ pleaded “Let me write what I know about” and, twice-weekly in 1960, he did.
Frank Collins
Feb 28
THE FALL OF THE HOUSE OF USHER (1960)
THE FALL OF THE HOUSE OF USHER (1960)
Female revenge, hereditary madness and Freudian architecture in Roger Corman’s first Edgar Allan Poe adaptation.
Frank Collins
Feb 16
THE CONVERSATION (1974)
THE CONVERSATION (1974)
What you secretly see and hear isn’t necessarily the truth in Coppola’s classic 1970s paranoid thriller.
Frank Collins
Feb 3
RIFIFI (1955)
RIFIFI (1955)
Domesticity, violence and the anti-hero in Hollywood exile Jules Dassin’s transatlantic film noir.
Frank Collins
Jan 24
ACCIDENT (1967)
ACCIDENT (1967)
Joseph Losey’s brutal excavation of memory, sexual obsession and toxic masculinity.
Frank Collins
Jan 12
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