Two for sorrow… Goodbye Gemini (1970)

This film is one of those late sixties treats served up with fascinating locations and post-psychedelic style and making the most of the increasing laxity of censorship and the decriminalisation of homosexuality with The Sexual Offences Act 1967. It’s a huge variety bag of richly-flavoured chocolates that leaves you feeling a little queasy by the end and that was probably the intention; folk on IMBD have mixed feelings about it but it’s got a fabulous cast and something to say as it ticks off the boxes of incest, transvestism, queer culture and deep psychological disorder.

 

Sixties It Girl supreme Judy Geeson gives one of her best performances in my opinion playing against type as the firm-willed and more grounded of a pair of twins at the heart of the action. Many times Judy was required to play ultra-pretty and very sweet, which she excelled at, but here her job is not to be likeable but to illustrate how relationships of damaging inter-reliance and child-like intensity can persist in the real world. Not for nothing was this film retitled Twinsanity (yuck) for a rerelease, as Judy is Jacki, sibling to Julian, and together they present what looks like easy pickings for London’s swinging hipsters but, as Jacki keeps on saying, they can look after themselves.

Judy Geeson

The psychopathic Yang to Jacki’s Yin is played by Martin Potter, rolling straight off the back of his startling turn in Fellini’s Satyricon (1969) into a world only slightly stranger. The last time I saw Mr Potter he was playing in the real world as a policeman mixing with the wrong crowd in All Coppers Are… (1971) and here he shows once again how he can be an unsettling presence, a febrile performer whose eyes give everything and nothing away. Whilst Judy presents as fun-loving and ultimately sound of mind, Martin gives only nervy uncertainty. This is true of his obviously inappropriate – and illegal – feelings for his sister, but we just don’t know what he is capable of doing.

 

The twins arrive in the capital from the west country by coach, snaking along the Westway/M4 and making their way to a flat in Cheyne Walk with a fine view of the Chelsea north bank, power station still smoking. We are given an immediate indication of their wayward sense of purpose when they take out their disapproving landlady by placing their treasured toy cat, Agamemnon on the top stair so that she trips and falls as they run from the building, alibi intact. They defer to Agamemnon in all important decisions (the film is based on the novel, Ask Agamemnon by Jenni Hall), a reflection of their childish intimacies but also unhinged morality: they happily let the toy make their choices.

Judy Geeson and Martin Potter, playing an attentive brother...

Another actor whose eyes give away unsettling possibilities is Alexis Kanner, a French born Canadian actor of no fixed accent here but who displays his usual twisted energies as deployed so effectively in The Prisoner, Connecting Rooms (1970) and elsewhere. Kanner plays hipster gadabout Clive Landseer who meets the twins in a crowded bar watching a drag show at the Royal Vauxhall Tavern (plus ca change eh?) and pulls them into his sleezy world of free-flowing sexuality, non-stop partying and general debauchery. He focuses attention on Jacki and tries to hand over his friend Denise (Marion Diamond) to Julian who looks on in panic at Jacqui’s removal from his side.

 

Clive invites them to his friend’s river boat for a party, here we find all manner of louche characters, including a smartly dressed Freddie Jones as David Curry, watching the action from a hammock, as the twins arrive and cause a stir as Jacki dances with Clive and Julian stares daggers. Much to Denise’s upset he soon cuts in and the whole room looks on in shock or groovy approval as the siblings get very close.

Mike and Fred

An MP arrives, James Harrington-Smith (Michael Redgrave always a class act even struggling with the early onset of Parkinson’s) who discusses art with an impressed Jacki as, again, Julian looks on with desperation. The twins leave spurred on by Julian’s increasing anxiety and are accompanied by Clive and Denise as whiskey is drunk and arguments are had at the twins’ flat. Clive decides to tackle the main issue by getting Julian to accompany him on an adventure, plying him with more drink and phoning ahead to arrange a special entertainment at a seedy hotel. Staggering into room 104 Julian’s eyes light up as he sees two dolly birds in miniskirts… by the time he realises that they’re boys, not girls, it’s too late and the camera cuts as in his shock he is overwhelmed by the, um, circumstances.

The next morning Julian recovers his poise back in the reassuring presence of his sister but this will not be the last he hears of this night. Clive has been dodging his bookie, Rod (the ace Mike Pratt) who previously came looking for him at the boat party, promising him a beating as an incentive to pay up on his accumulating debt. Rod had visited the flat the night before finding only the two women and when Clive visits Jacki later in the day, he corners him and makes his point; a couple of body blows as a taster for the retribution to come.

Here come the girls...

Clive is in some spot and almost reluctantly, decides the only way is to blackmail Julian to get the money, presenting him with a collection of photographs depicting the previous night’s entertainment. The only trouble is Julian doesn’t have the money and the only trouble for Clive is, you don’t take on one of the twins without taking them both on and, as Jacki has always pointed out… they can look after themselves.

 

The stage is set for a traumatic closing segment in which both Judy and Martin perform superbly as does Redgrave in what appeared to be a bit part.

 

Dusty Verdict: Not a film you watch for pure enjoyment or nostalgia, there are some real points to make and a dedication to the uncomfortable realities behind the rapidly fading myths of sixties hedonism. As I’ve said, the actors are all on form and I really think this is one of Judy G’s most interesting portrayals.

 

The mood has been said to be uneven but director Alan Gibson is just showing the push and pull of reality versus the twin’s world, an unreality dominated not so much by the obsessive sociopathic Julian but the character they project into Agamemnon the cat.

 

 

 

 

A constable carry-on. All Coppers Are... (1972), Network Blu-ray out now!!

My second time around with All Coppers Are and it grows more impressive as I wonder what my father, a copper himself, albeit in Liverpool, would have made of it.

The film was directed by Sidney Hayers from a script adapted from his own novel by Allan Prior (folk singer Maddy’s father), the founder-writer of ground-breaking, Merseyside police drama Z-Cars (with Troy Kennedy Martin), and spin-off series Softly, Softly. Prior was expert in police procedural narrative and also knew how to write about the police experience off duty, here in a tough part of London with more suspicion than perhaps in most parts of the Northwest.

The producer was, surprisingly, Carry on’s Peter Rogers and there’s even a music score from Gerald Thomas which, though it very occasionally reminds you of his more light-hearted work, generally supports the action well. The film certainly wanted to hit hard in the manner of Get Carter and there’s even a sinister turn from Ian Hendry, rather more menacing than his character in that film.

The power station... where's the pig?

What strikes me most of all is the tremendous sense of place in the film, as we start with a shot across the Thames of the old Battersea Power Station and down to the lone Constable Joe (Martin Potter) on the beat in his native Battersea. This area, and Clapham, are still very recognisable for any of us commuters who’ve had the daily pleasure of watching the old power station be turned into a modernistic mess by soulless developers. Back in the early 70s it was still working and, a few years before Floyd’s Pink Pig flew overhead, the area was charcoal grey, smothered in coal dust and exhaust fumes. Joe spots a young Robin Asquith attempting to steal a car and gives chase over to the slag heaps at the power station.

Martin Potter has a detachment which suits Joe’s self-doubt and whilst these are characteristics well used by Federico Fellini, who cast him as Encolpius in his striking Satyricon, we’re in Battersea now and Potter seems a little lost even as he draws the eye with screen presence. Joe is still unformed and just about the only thing he is convinced about is his job, he has a young child with pretty wife Peg (Wendy Allnutt, once described by Dennis Potter as “paralyzingly beautiful”) who he married in haste after the unexpected result of their short relationship forced their hand. Yes, even in 1972.

Martin Potter

Wendy was at drama school with Martin Potter and this undoubtedly helped their chemistry in their uncertain marriage. Wendy’s recollections in the accompanying interview are revelatory in terms of the location, the bleakest part of Battersea was chosen for their flat and also the wedding party, filled with “characters”, director Sidney Hayers’ efficiency and the whole shoot which was a positive experience: “a fun movie to make”. She even enjoyed working with the baby having no experience with such creatures. On second viewing the couple’s relationship makes for a more convincing arc, as Joe, especially, will learn a lot about himself over the course of events.

The script covers a lot of ground and is what buoys it aloft above the dangerous terrain of un-gritty is the expressive intensity of Julia Foster; she is the class act here and acts with a subtlety and nuanced grace that gives Coppers an emotional anchor it would otherwise lack. She has an emotional openness as well as a perfectly proportioned face which made me, fall in love with her during the course of that play and every time I’ve seen her since, from Alfie, Half a Sixpence, The Small World of Sammy Lee, to the recent Dad’s Army film and Dr Who, she has never failed to impress. At this point she was 29, more than ten years into her career, and she gives the World-weary assurance you expect as Sue, a woman who has already known too much disappointment and is cautiously looking at all those around her not to fail her.

Julia Foster toughens up for this role

Chief among life’s disappointments has been her mother (Sandra Dorne) who has shacked up with another freeloading boyfriend, Jock (Glynn Edwards) who, to say the least, is a little grabby when it comes to his “daughter in law”. But it’s her own relationships that cause Sue the most grief and more than once bitten she is very shy of new mistakes.

The third of our leads, small time hustler Barry (Nicky Henson a long way from Charterhouse in this neck of the woods…) who is keeping a watch on a warehouse where he’s planning a robbery. He has a room in a house run by Mrs. Briggs (Carmel McSharry) whose son, Ronnie is played by one David Essex whose next film would be That’ll be the Day. They invite Barry to a wedding reception where he meets and fancies Sue who meets and fancies Joe. After a few drinks they head off to the embankment for some larks and champagne, quickly bonding as friends as the triangle of affection solidifies.

Now, Joe, if you remember, because he’s forgetting… is married but he’s smitten with Sue and the two end up together for the night only for Joe’s conscience to finally kick in as he tries to brush her off. She turns her attention to Barry but the two run into Joe again in a pub run by the Malloys, Eddie Byrne and Queenie Watts - now there’s a surprise. Joe gets the cold shoulder as a copper but its only after he calmly administers first aid to a stricken pensioner that Sue and Barry discover his day job.

Nicky Henson cases the joint

That’s it for Barry, obviously, but Sue, so disappointed to discover his marital state, is more sympathetic… In the absence of anything better though she has ended up living with Barry and, against the odds believes he a) may be honest and b) has work to take them away from SW11. She may have seen it all but she still has a hopeful naivety.

Time for Ian Hendry as sinister Sonny Wade, who brings the Get Carter grit with knowing menace enhanced by his friend Fancy Boy (David Baxter). Hendry’s radiates febrile threat with every quiver, a man of criminal passion who’s flawed ruthlessness presents Barry with a situation only a desperate man would accept, he has little to gain if he delivers the stolen goods to Sonny and everything to lose.

Cue, the finale and some unexpectedly dramatic twists and turns.

Friends forced apart

Before this though there is a well-realised, almost too real, sequence where Joe and his colleagues have to confront a protest march. It’s brutal stuff with truncheons flying before police horses arrive to kettle the ring leaders. Was this a comment on the political upset of the time – the nature of the protest is ill-defined, something about “fascists” and “student grants”, or just a means of showing how the Coppers, “bastards” though they may be, have a tough job to do. It could just be gratuitous of course, a tick of the “counterculture” box but stuntman Chris Webb reveals in his interview that some of the extras got a bit too carried away.

First assistant editor, Jonathan Morris, is also interviewed about the work and he praises Hayers’ approach especially as he had started as a film editor and was very proficient from the point of view of the cutting room, his shots cutting together smoothly, and given the budget, very efficiently!

Dusty verdict: The digital transfer is sparkling and the watching experience is more enjoyable than previous releases. It’s meditation of the role of coppers in society is still a valid one and the character’s struggle to find themselves all too real, especially given magnificent turns from Foster and Henson especially. Julia Foster makes us believe in Sue, and her flawed judgement - but, despite a decent performance, I’m not entirely convinced by Henson’s Battersea boy Barry, he seems too smart to take on this risky job. As for Joe, Martin Potter is sometimes absent without leave and at times magnetic given his conflicted existence. Yet, you care about these characters in the end even whilst feeling that there should have been more to care about in terms of their available life choices.

The release comes with excellent extras including the interviews directed by Chris McCabe, with actor Wendy Allnutt, 1st assistant editor Jonathan Morris and stuntman Chris Webb. Morris is especially insightful given his role but it’s great to have the context from all three. There’s also a very informative booklet essay from Adrian Smith along with an image gallery and trailer.

Sue finds out the truth about Joe...

So, a massive upgrade on the DVD and a very interesting title that’s a must-have for fans of the period as well as the splendid cast.

You can order direct from Network – and you will not be disappointed!

Looking shifty Mr Askwith

Wendy Allnutt: Dennis Potter not wrong.

 

 

 

 

 

 

 

 

The Battersea Blue Line…. All Coppers Are... (1972)

 

A picture paints a thousand words, or does it? The truly awful cover on this Network DVD lengthens Julia Foster’s hair but also digitally inserted a new face for her and Nicky Henson based on a comparison with an earlier draft which looks far truer to the film. This, and the general consensus on IMDB and elsewhere, seems to indicate an issue with All Coppers Are’s “authenticity”; even the original images need airbrushing/photo-shopping to make up for the lack of Get Carter grit.

They should perhaps left well enough alone as a) there is nothing, at all, wrong with Ms Foster’s face – quite the contrary in fact - whilst the World doesn’t need a wax-work Nicky Henson. All Coppers Are is a decent enough film that perhaps left too much of a challenge for its cast to meet in terms of a “soft” script that is too much in collusion with the audience expectation of a gangster flick. But what buoys it aloft above the dangerous terrain of un-gritty is indeed the beautiful and expressive face of Julia Foster; she is the class act here and acts with a subtlety and nuanced grace that gives Coppers an emotional anchor it would otherwise lack.

*Dame* Julia Foster (or at least she should be!)

Now, full disclosure, I have had a crush on Ben Fogle’s Mum since I saw her in Mr. Axelford's Angel in 1974 when I was but a wee lad. She has an emotional openness as well as a perfectly proportioned face which made me, fall in love with her during the course of that play and every time I’ve seen her since, from Alfie, Half a Sixpence, The Small World of Sammy Lee, to the recent Dad’s Army film and Dr Who, she has never failed to impress. At this point she was 29, more than ten years into her career, and she gives the assurance you expect as Sue, a woman who has already known too much disappointment and is cautiously looking at all those around her not to fail her.

Chief among life’s disappointments has been her Mother (Sandra Dorne) who has shacked up with another freeloading boyfriend, Jock (Glynn Edwards) who, to say the least, is a little grabby when it comes to his “daughter in law”. But it’s her own relationships that cause Sue the most grief and more than once bitten she is very shy of new mistakes.

Julia Foster is in this film... and boy she can act!

The film opens with police constable Joe on patrol in his native Battersea – the films good location for Battersea and Clapham, still recognisable for any of us commuters who’ve had the daily pleasure of watching the old power station be turned into a modernistic mess by soulless developers. Back in the early 70s it was still working and, a few years before Floyd’s Pink Pig flew overhead, the area was charcoal grey, smothered in coal dust and exhaust fumes. Joe spots a young Robin Asquith attempting to steal a car and gives chase over to the slag heaps at the power station.

Martin Potter has a detachment which suits Joe’s vagueness and self-doubt and whilst these are characteristics well used by Federico Fellini, who cast him as Encolpius in his striking Satyricon, we’re in Battersea now and Potter seems a little lost even as he convinces with presence and skill. Joe is unformed and just about the only thing he is convinced about is his job, he has a young child with pretty wife Peg (Wendy Allnutt, once described by Dennis Potter as “paralyzingly beautiful”) who he married in haste after the unexpected result of their short relationship forced their hand. Yes, even in 1972.

Nicky Henson and Dame Julia

The third of our leads, small time hustler Barry (Nicky Henson along way from Charterhouse in this neck of the woods…) who is keeping a watch on a warehouse where he’s planning a robbery. He has a room in a house run by Mrs. Briggs (Carmel McSharry) who’s son, Ronnie is played by one David Essex whose next film would be That’ll be the Day. They invite Barry to a wedding reception where he meets and fancies Sue who meets and fancies Joe. After a few drinks they head off to the embankment for some larks and champagne, quickly bonding as friends as the triangle of affection solidifies.

Now, Joe, if you remember, because he’s forgetting… is married but he’s smitten with Sue and the two end up together for the night only for Joe’s conscience to finally kick in as he tries to brush her off. She turns her attention to Barry but the two run into Joe again in a pub run by the Malloys, Eddie Byrne and Queenie Watts - now there’s a surprise. Joe gets the cold shoulder as a copper but its only after administering first aid to a stricken pensioner that Sue and Barry discover his day job…

Martin Potter and the “paralyzingly beautiful” Wendy Allnut

That’s it for Barry, obviously, but Sue, so disappointed to discover his marital state, is more sympathetic… In the absence of anything better though she has ended up living with Barry and, against the odds believes he is a) honest and b) has work to take them away from SW11. This stretches credibility given her earlier reticence, especially after Sue joins Barry at the Odeon for ten pin bowling and a meet with some underworld contacts.

Time for Ian Hendry as sinister Sonny Wade, who brings the Get Carter grit with knowing menace enhanced by his friend Fancy Boy (David Baxter). Hendry’s radiates febrile threat with every quiver, a man of criminal passion who’s flawed ruthlessness presents Barry with a situation only a desperate man would accept, he has little to gain if he delivers the stolen goods to Sonny and everything to lose.

Cue, the finale and some unexpectedly dramatic twists and turns.

And pigs might fly...

Dusty verdict: Directed efficiently by Sidney Hayers and produced by Carry on’s Peter Rogers (there’s even a music score from Gerald Thomas!), the film certainly wanted to hit hard and even includes a well-realised sequence where Joe and his colleagues have to confront a protest march. It’s brutal stuff with truncheons flying before police horses arrive to kettle the ring leaders. Was this a comment on the political upset of the time – the nature of the protest is ill-defined, something about “fascists” and “student grants”, or just a means of showing how the Coppers, “bastards” though they may be, have a tough job to do. It could just be gratuitous of course, a tick of the “counterculture” box.

The script is uneven and the characters are a struggle for the performers to keep coherent. Julia Foster achieves this with ease – we believe in Sue, and her flawed judgement - but, despite a decent performance, I’m not entirely convinced by old-Carthusian Henson’s Battersea boy Barry. As for Joe, Martin Potter is sometimes absent without leave and at times magnetic given his conflicted existence. You care about these characters in the end even whilst feeling that there should have been more to care about…

If you buy the DVD for one thing only... it's Julia!

The film is available on Network DVD and you can buy direct or from Amazon etc. It’s well worth a watch especially for all those of us who love Julia Foster!