Village of the Damned

Adapted, as I'm sure you already know, from the John Wyndham classic, 'The Midwich Cuckoos', 'Village of the Damned' is the story of an invasion of sorts that begins when the entire village of Midwich is sealed off from the outside world by a cone of sleep. For four hours everything - human and animal, villager and visitor - inside the village boundaries immediately falls asleep.  Waking with no memories of what has transpired it's not until 2 months later, when every woman of child bearing age is discovered to be pregnant, that the scale of the enigma begins to be revealed.  The pregnancies develop at an accelerated pace and the babies are born simultaneously with each displaying strikingly similar characteristics.  This acceleratted development continues as the children mature at four times the speed of an entirely human child and display notable telepathic abilties.

Narrowing the focus from the novel, the film concentrates on one family, Professor Gordon Zellaby (George Sanders - 'Psychomania'), Anthea Zellaby (Barbara Shelley - 'Quatermass and the Pit') and their 'son' David (Martin Stephens - 'The Innocents') who ostensibly acts as the leader of the children, who are, despite not appearing for the the first 30 odd minutes, the undisputed stars - as well as the focus - of the film.  The children, who operate a hive mind, are neatly conformist, joyless, quick to anger and utterly ruthless in it's expression and an obvious metaphor for the Nazi and Communist regimes that had so preoccupied minds over the previous decades and a reflection of the fear of the newly maturing baby-boomers and the societal changes they were inspiring - "Couldn’t you learn to live with us, and help us live with you?".

Anglo-German director Wolf Rilla in his only foray into science fiction plays a subtle hand avoiding those cliches that potentially would have littered the film if the originally planned US productions hadn't floundered.  His version (and vision as one of the scriptwriters) emphasises the mundane reality of the village made weird by the actions of the cuckoos in the nest, the cosiness that Wyndham was famously accused of shown to be only a thin veneer covering the turmoil raging below - the accusations, the abuse, the fear, the violence - and the focus is kept deliberately narrow only hinting at the wider picture. There are no answers provided, Gordon Zellaby's solution is one of coldly pragmatic necessity that is a reflection of the children's nature - "if you didn’t suffer from emotions, from feelings, you could be as powerful as we are" - and the who and the how of the children is never revealed and both they and the movie are all the more chilling for it. 

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Fad Gadget by Frank Tovey

Over the course of 10 albums - 4 as Fad Gadget and 6 using his own name - Frank Tovey made music that helped define electronic and industrial music helping springboard bands such as Depeche Mode (who feature in the film below) and Einstürzende Neubauten and influence the likes of Skinny Puppy and Ministry.

Ever a cult performer Tovey never achieved mainstream success in his tragically short lifetime - he died of a heart attack aged just 45 - but left an entirely idiosyncratic legacy that still resonates today and is deservedly celebrated in this affectionate documentary.

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The Eye Of Yemanja

Late(ish) 1980s ITV series 'Worlds Beyond' featured 13 'true' stories from the archives of the Society for Psychical Research.  We've featured a few of these on Wyrd Britain before and, to be entirely honest, they're a pretty ropey bunch.

In this episode, written by the usuably reliable Brian Clemens (Captain Kronos: Vampire Hunter, Someone At The Top Of The Stairs), model Suzy (Amanda Hillwood), who has apparently never read or watched any horror, takes home an ominous carving she finds washed up on the beach.  Repeatedly discounting a warning of the statue's evil intent she is soon beset by accident and injury.

It's all been knocked together quickly and cheaply so it's all pretty rudimentary with very little jeopardy and some brutally terrible editing but there're a few nice touches that could have been developed into something interesting and it has a naive, cheap and cheerful charm.

NB - Eagle-eyed viewers may wish to watch out for a brief appearence by Julia Deakin (Spaced).

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The Day of the Triffids (BBC Radio 1968)

Originally aired on BBC Radio 4 in 1968 and essentially reusing the Giles Cooper script from the corporations 1957 adaptation this version of John Wyndham's post-apocalyptic classic features Hammer legend Barbara Shelley (Quatermass and the Pit) as Josella Playton, Gary Watson as Bill Massen and British TV icon Peter Sallis as Coker.

For those familiar with the novel there'll be no surprises but it's an enjoyably well mannered adaptation that's very much of the time it was written, respectful of the source material and well played with the added bonus of music from David Cain of The BBC Radiophonic Workshop.  

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Theatre of Death

1967 was a busy year for Christopher Lee, but not exactly a halcyon one, that  sent him to Hong Kong twice for 'The Vengeance of Fu Manchu' and for 'Five Golden Dragons', to Germany for 'The Blood Demon', to the island of Fara with Peter Cushing for 'The Night of the Big Heat' and to a very English sounding Paris in 'Theatre of Death'. 

Here he plays an egomaniacal theatre director at the 'Théâtre de Mort' - a loosely disguised Théâtre du Grand-Guignol - where he is moulding a young actress with a tragic past 'Nicole Chapelle' (Jenny Till) into a star.  Untrusting of both his intentions and his bullying manner are the fragile former ballerina 'Dani Gireaux' (Leila Goldoni - 'Invasion of the Body Snatchers') and her damaged police doctor 'Charles Marquis' (Julian Glover in one of his first starring roles and only a year away from becoming 'Colonel Breen') who also happens to be assisting in the investigation of a spate of murders.

Playing with Hammer-esque gothic pretentions along with hypnotism, vampirism and the occult - it even manages to crowbar in some near naked voodoo too - this is a film that never quite manages to fulfil its promises - like the murder victims it's remarkably bloodless - or make the most of the various narrative threads it hints at - everyone is just about damaged enough to be the culprit -  but American director Samuel Gallu injects some nice giallo inspired stylistic flourishes and manages to hold everything together keeping us guessing as to the culprit all the way to the reveal and the final result is flawed and a little underwhelming but still an entertaining way to spend 90 minutes.

NB - at the end of the video below there's a short snippet of Christopher Lee talking about the movie.

The Department of Midnight

"Dark matter makes up 85% of the universe. Recent scientific theory suggests dark matter is information—a fifth form of matter—and that we can wake it up. But waking it up can let dark things out.

James Callis is Dr. John Carnack. Five years ago, his dark matter experiments led to tragedy. His redemption is working for the Department of Midnight, investigating dangerous dark matter experiments, trying to prevent further disasters. But there’s a pattern.

And it all leads back to him."

'Department of Midnight' is a new series of one act, two hander audio dramas from writer Warren Ellis (Transmetropolitan, Crooked Little Vein, Castlevania) and newly formed production company The Bellport Theater on the Air.  

I adore audio plays and so one written by one of my favourite authors revolving around the types of themes and settings we champion here on Wyrd Britain is a very good thing indeed.  Warren has never been shy of celebrating his influences and the shadows of 'Doomwatch', 'Quatermass' - Nigel Kneale himself the author of numerous wonderful radio plays - and William Hope Hodgson's occult detective Thomas Carnacki loom large here and those with a familiarity with Warren's work will feel the immediate kinship here with the 'Injection' comic series he does - note the present tense, I'm ever the optimist - with Declan Shalvey and Jordie Bellaire that plays with classic British heroic archetypes and folkloric themes.

The cast are perfectly suited, James Callis (Battlestar Galactica) has that perfectly detached post traumatic British persona that mixes duty and weariness with a barely suppressed mania and Alicia Witt (Dune) - obviously I'm only talking about episode one here - is deliciously bonkers entirely inhabiting the role of being entirely inhabitated.

It's a really strong and intriguing introduction to this world, and I'm very excited to see where they take this. 

Episode One: The Cold Spot
Dr. John Carnack is an investigator for the Department Of Experimental Oversight.  Responding to a whistleblower call, he arrives at a lab to discover Dr. Sylvie Bestler’s personal experiment: to see what’s on the other side of the universe. Starring James Callis and Alicia Witt.

Episode Two: Jack in the Box
John Carnack’s old friend is being kept in a plastic cell.  There’s a contamination issue.   He tripped over something when he discovered his employer’s body.  But Carnack is concerned that something darker is going on…Starring James Callis and Gildart Jackson.

Episode Three: Song to the Siren
On the death of Carnack’s mentor, her daughter asks him to examine the death scene.  They find out too late that she died of very unnatural causes. Starring James Callis and Adrianne Palicki.

Episode Four: The Red House
The university bought a derelict house out in the middle of nowhere for this experiment.  When Carnack arrives to shut them down, everyone thinks he’s crazy, but he knows what the Red House really is. Starring James Callis and Nolan North.

Episode Five: The Devil Runs Out
A routine examination of a dark matter lab turns into a race against time, as Carnack is forced to pursue a face from his past intent on human sacrifice. Starring James Callis and Brett Dalton.

Episode Six: Judgement
In the season one finale, John Carnack faces the board of the Department of Experimental Oversight, interrogated by a prosecutor.  Now he must be held accountable for his actions.  And for the sins of his own past. Starring James Callis and Carla Gugino.

All six episodes are included in the playlist below.

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The Kneale Tapes

First shown on October 15th 2003 this episode of Timeshift explores (some of) the work of legendary screenwriter Nigel Kneale.

There're some serious omissions - 'Beasts', 'Murrain' - that need to be discussed in a future more comprehensive exploration of his work but with contributions from fans like Mark Gatiss, Jeremy Dyson, Kim Newman along with some great archive footage of Kneale and his wife, the writer and illustrator, Judith Kerr, it's an easy and affectionate tribute to one of the people who defined what we think of as Wyrd Britain.

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Parallel Worlds: A User's Guide

Taken from the BBC Four Timeshift documentary series and narrated by Richard Ayoade with contributions from, the perhaps inevitable, Stuart Maconie, author Kim Newman, critic Roz Kaveney and various others this is a playful look at the phenomenon of the parallel world.  

 

Originally screened in 2007 it is somewhat dated by many of it's reference points with the likes of 'Sliders'  - which even at that point was 7 years forgotten by most folks - getting far more mentions than necesssary, as well as 'Buffy', 'Red Dwarf' and 'Futurama'.  It's essentialy a piece of fluff but some interesting points are made and in our current MCU dominated world it's interesting to see how many of the identified tropes have proven to be so resilient.

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Home

"I'm about to reach out and touch the infinite"

Adapted by director Richard Curson Smith from J.G. Ballard's short story 'The Enormous Space', Anthony Sher stars as 'Gerald Ballantyne' who decides to cut himself off from the outside world and live off the contents of his house.

We follow Gerald through his slow transformation / degredation via his video diary and in the more traditional manner as he destroys many of the trappings of his former life, navigates hunger and as the house expands and reveals it's hidden dimensions to him.

"Are you on drugs, Gerald?"

Obviously Ballard has a fondness for using buildings as microcosms - as in High-Rise - and there is an obvious ecological metaphor here as Gerald voraciously consumes the limited resources of his 'world'.  Essentially a one man play - peppered with occasional visits from the outside - Sher is fantastic as the deteriorating Gerald, pragmatic in the face of hunger, fearful of intrusions from the terrifying outside world and astonished by the revelations being presented to him.  It's a performance that elevates what is already a bold and artful creation made with love on an obviously limited budget that Curson Smith has simply to great effect allowing us to share, at both first and second hand, Gerald's experiences.

NB - I'm not much for trigger warnings but cat and worm lovers beware.

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Wyrd Britain is 10

We are 10!

Thank you to everyone who has supported Wyrd Britain over the last decade.

With 845 posts and over 2 million views on the blog and countless posts on social media it's been a busy 10 years.

Thank for reading, thank you for donating, thank you for buying from the shop and from the label, and thank you for being part of a vibrant, positive and supportive community both here and over on the Facebook and Instagram pages.

It's been quite a trip.

Here's to the next 10.

Stay wyrd lovely people.

Die, Monster, Die!

Loosely based around H.P. Lovecraft's 'The Colour Out Of Space', 'Die, Monster, Die!' finds American 'Stephen Reinhart' (Nick Adams - 'Rebel Without a Cause', 'Invasion of Astro-Monster') called to the home of his fiance, 'Susan' (Suzan Farmer - 'Dracula: Prince of Darkness'), in the village of Arkham, where, shunned by all the villagers, yokels and doctors alike, her father 'Nahum' (Boris Karloff) is conducting experiments using a meteor that has landed in the grounds.  Unortunately Nahum's experiments are having catastrophic effects mutating plants, animals and, inevitably, people.

The film is a bit of a mish mash of Hammer horror gothic pretentions - the faded grandeur of Hammer's own Oakley Court, mist wreathed graveyards and skeletons hanging from chains in cobwebby cellars - with Lovecraftian science fiction but Karloff is a reliable figure around which the story revolves, his deluded experiments as he attempts to revive the family's fortunes and banish memories of his diabolic father providing a sympathetic - if underdeveloped - core but Adams' brash personality - and ill fitting clothes - make him an unlikable lead, especially when cold-cocking Susan's mutated mother (Freda Jackson - 'The Brides of Dracula') with a candelabra.  

It is however a fairly pacey romp that never really takes a breath and is often quite pretty to look at and, provided you don't think too hard about the plot, makes for a fun, and all too rare, Lovecraft adaptation.

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Starve Acre (trailer)

Today brought the first trailer for the upcoming adaptation of Andrew Michael Hurley's 3rd novel, 'Starve Acre'.

'Dark and sinister forces invade an archaeologist's home as he investigates a mythic folklore about an ancient oak tree on his land.'

Starring Matt Smith and Morfydd Clark and directed by Daniel Kokotajlo, Hurley's folkloric rural horror looks to be in good hands with the trailer offering an intense experience that bodes well for the finished film.

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Shoreline Ritual

It's been a while since we heard from our friend Grey Malkin (formerly known as 'The Hare And The Moon') here on Wyrd Britain but this new EP made in collaboration with 'Fogroom' provides the perfect opportunity to reacquaint your ears with his music.

Shoreline Ritual comes with the enigmatic note that it...

might be a narrative.
A cautious exchange.
A bridge between here and there.
It could be about strange occurrences along the coast,
or old dreams, loss and the sea.

It feels fragile, nebulous, adrift and elegant. 
It's a spell cast into the wind, a message carried by the waves and it's mesmerising.

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The Garden of Time

J.G. Ballard
4th Estate

Recently used as the theme to the cavalcade of shallow excess that is the Met Gala this promotional chapbook (heralding a new series of reissues) of Ballard's short story - originally written in 1962 - of the death of beauty amidst the inexorable advance of the masses and their crass consumerist ways was a delightful read.

The story of a husband and wife holding back the inevitable by plucking the flowers of time from their garden in a knowingly futile attempt to delay the advancing hordes.  These immaculate but anachronistic lovers, with their elaborate clothes, beautiful music, and perfectly curated collections, fearful of change and trapped in the amber of an unchanging, untainted, romanticised past, are eventually swamped by the advance as time marches ever on, trampling all before it except, perhaps, love.

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The People That Time Forgot

Amicus' 1977 direct sequel to 1974s 'The Land That Time Forgot' returned us to Edgar Rice Burroughs' dinosaur riddled antarctic island, 'Caprona' where Doug McClure's 'Bowen Tyler' had been stranded at the end of the previous movie.  Last seen trudging over snowy mountain peaks in the company of Susan Penhaligon's 'Lisa Clayton' to throw the message in a bottle into the sea that has spurred his chldhood friend 'Ben McBride' (Patrick - son of John - Wayne) to mount a rescue mission.  Accompaying him into the unknown are photographer 'Lady Charlotte 'Charly' Cunningham' (Sarah Douglas - 'Ursa' in the first 2 'Superman' movies), paleontologist 'Norfolk' (Thorley Walters), his mechanic 'Hogan' (Shane Rimmer) and, along the way, a cave-woman named 'Ajor' played by singer Dana Gillespie.

Directed, as was 'The Land..', by Kevin Connor - who also sent McClure to both Atlantis and 'The Earth's Core' - this one is every bit as flawed and fun as it's predecessor.  The story is flaccid, the dinosaur effects are risible and the cast are poor (except McClure - I won't have a word said against McClure) with Wayne being boorish and bullying and an unlikeable lead, Douglas overplaying her role, Walters and Rimmer acting as comic relief and Gillespie providing the cleavage. 

Written by future 'Amtrak Wars' author Patrick Tilley it's a pretty by the numbers adaptation that was the last gasp of the Amicus studio but when I was a kid Doug McClure was my absolute favourite and to this day his three Amicus monster movies rank amongst my favourites although I'll admit this one is solidly in third place.

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