Seven Nation Army

The BBC just released the Blu-Ray box set for the second season in Terry Nation's dystopian, space opera Blake 7. Naturally, I put my film watching on hold and binged through it like my life depended on it.

Many of the points I addressed in a blog post dedicated to the first season are just as valid here. Therefore, to avoid repeating it all again, here's an episode guide on the second season of the science fiction series.

Redemption 

Liberator, the mysterious alien spacecraft commandeered by Blake and his crew, is shown being destroyed in last season's cliffhanger finale. It's revealed as a prophetic vision by Orac, the supercomputer and one seventh of Blake's posse. Avon deduces that identifying the star constellation in the background of Orac's prophecy, the Liberator can avoid its destruction. Shortly afterwards, the ship is attacked and pursued by unknown spacecrafts. The Liberator attempts to flee, but is eventually controlled remotely by The System, a computer network created by an advanced alien civilisation, revealed to be the creators of the Liberator.

Terry Nation ends his streak as the sole writer of the series on a high. A rewarding season opener as the Liberator's origin sheds some of the mystique about the ship. Really enjoyed the scene where Blake has to wrestle with the Liberator's cables and circuitry; like they were snakes. I also found it funny seeing the Altas, a bunch of saggy-arsed, hive-minded and cold-blooded women being connected with the Liberator; a ship that looks like it was kit-bashed from a sex toy by the effects department. Rating: 9/10

Shadow

Blake goes to Space City seeking aid against the Terran Federation from the criminal underworld known as the Terra Nostra (see what they did?). Furthermore, Orac and Cally, the telepathic member of Blake's gang, are confronted by a psychic alien entity. Cally manages to combat the invisible enemey with the use of moon discs (they look like brown pebbles), the products used by the Terra Nostra to harvest the narcotic Shadow.

Dud episode! Terry Nation proves how big his shoes are to fill with script editor Chris Boucher taking control of the writing reins. The episode is a convoluted mess and hard to believe it's written by the same creative mind responsible for the seminal Doctor Who story The Robots of Death. Cally is a complete buzzkill once the episode focuses primarily on her. The episode really drags by all the hallucinatory imagery of Cally being trapped inside Orac or when a bunch of pebbles are laughably placed all over Cally. The Terra Nostra plot isn't enjoyable, either. The so-called gangsters are nothing but a bunch of stuck-up, English toffs in brown velour suits rather than resembling anything shady or scary. Also, it's no surprise when it's revealed the Terra Nostra is also controlled by the Federation. Worst of all, is seeing Karl Howman, from the awful sitcom Brush Strokes and the former British video nasty Exposé (1976), playing one-half of a pair of pixie-looking junkies being Shadow addicts. The siblings reminded me of Wilykit and Wilykat from Thundercats and were insufferable. Rating: 4/10

Weapon

Both the Liberator's crew and the Federation go searching for the fugitive scientist Coser, the developer of a powerful weapon known as I.M.I.P.A.K. (Induced Molecular Instability Projector And Key). A deadly device able to mark its target with dark matter and be detonated from an extremely long range (a million miles, or so). Servalan and Travis (in the latter's case; merely canonically) are back. The devious pair employ the genius psychostrategist (otherwise known as a "puppeteer") Carnell to pinpoint Coser's whereabouts, while also lure out the scientist with a clone of Blake.

A far better episode from Chris Boucher compared to his previous one. Great to see Servalan back in her sadistic glory again, although, I really can't say the same for Travis given how Brian Croucher's performance is so jarringly different when compared to what made Stephen Greif's version so memorable from the first season. Enjoyed seeing the I.M.I.P.A.K.weapon in action; at first against a clawed, alien beast, and once again on Blake and his comrades Avon and Gan. I also got a kick out of seeing British horror scream queen Candace Glendenning as Rashel, a freed slave on the run with Coser. Weapon has a worse IMDb rating than Shadow; which is bizarre, since it's a big improvement and far more enjoyable. Rating: 8/10

Horizon

Blake pursues a Federation ship to the mysterious planet Horizon. Blake and Jenna teleport down and are are captured by a native. The eventually become prisoners and forced into labour alongside the rest of the unfortunate populace in underground mines. They eventually learn that Horizon's ruler, Ro, is being used as a puppet by the Federation for their own means. 

A lame and largely forgettable episode by scriptwriter Allan Prior, the co-creator of the yachting drama Howard's Way. Avon left alone aboard the Liberator, debating whether he should abandon his crew mates still on Horizon, is probably the only positive aspect about this episode. Otherwise, there's lots of instances where Federation officials say "Kommissar!" and "Assistant Kommissar!" while Blake teaches the slaves how to share the cauldron of gruel they're given to eat. Definitely struggled to stay awake through this commie gobbledegook. Rating: 5/10

Pressure Point

Frustrated with all the foreplay, Blake decides to stick it where it hurts for the Federation; taking the battle to Earth. His plan is to destroy Central Control, the computer network and nerve centre of the Terran Federation, effectively toppling the authoritarian regime's iron grip over the galaxy. Thus, Blake teams up with resistance leader Kasabi, the former tutor of Servalan who harbours obvious beef with the ruthless Supreme Commander.

Terry Nation returns with one of the best episodes in the series thus far. Obviously, the mission fails; resulting in the death of the underdeveloped Olag Gan, a member of Blake's outlaw gang. Farewell, Gan! We hardly knew you. Nevertheless, Pressure Point is an action packed episode with an intriguing dose of betrayal. It's a lot of fun seeing Blake, Avon, Vila and the soon to snuff it Gan fighting their way to Central Control. This includes a genuinely tense scene where the lads traverse through a minefield. Also, despite my dislike for Croucher's portrayal of Travis, I did enjoy the scenes between him and Servalan during this episode. Rating: 10/10

Trial

In the aftermath of Gan's death, Blake decides to do some soul searching on an uninhabited planet while his crew ponder over whether to still follow him or not. Meanwhile, Travis does some of his own reflection as he awaits court-martial.

An introspective episode after the action-packed events of the previous one, but a good one, regardless. It's intriguing to discover that the unnamed planet (which looks like it might have been filmed in the Blue Peter garden) is in fact a living creature. It's also engrossing to find out that Blake and Zil, the ridiculous looking alien he befriends, have very limited time left before the living planet floods the surface with oceans of its own saliva to cleanse itself of all the parasites living on it. Overall, I found this part of the episode more interesting than Travis's trial. However, much like Pressure Point, I did find Brian Croucher's performance tolerable here. Kind of funny seeing John Savident, better known for playing Fred Elliott on Coronation Street along with Kevin Lloyd, who was D.C. Tosh Lines on The Bill, playing characters from the Terran Federation. Rating: 7/10

Killer

Avon and Vila teleport down to the Federation planet of Fosforon to get their hands on a translator crystal which would vitally aid them in decoding enemy transmissions. Tynus, the commander of the Q-Base installation, is an old "friend" of Avon; one who owes the renegade engineer a big favour. Blake also teleports down to the installation after a derelict, centuries-old spaceship drifts over the planet. Cally telepathically senses immense danger inside the ship.

Two great plot lines running concurrently by the legendary Doctor Who writer Robert Holmes. What starts off as a heist story eventually turns into a horrific contagion story; with a whiff of zombie goodness. Avon and Vila are a perfect double act, and it's great seeing them working together in this fantastic episode. Tynus, is played by Ronald Lacey, a natural at playing odious and slimy characters; best known for his characters Harris on the classic sitcom Porridge as well as Gestapo officer Arnold Ernst Toht in Raiders of the Lost Ark (1981). Hence, you're waiting for the all important betrayal while the killer plague ravages the installation. Killer episode. Rating: 10/10

Hostage

After a run-in with Federation pursuit ships, the Liberator receives a message from Travis, who has now gone rogue. The dastardly villain has Blake's ex, Inga, hostage on the planet Exbar. Blake's uncle, Ushton, lives on the planet, who might be able to help.

WTF? Blake and Inga are literally kissing cousins! That's about the only memorable detail from what's otherwise a completely forgettable episode; that, and the fact Jenna gets a little jealous when she sees them kiss. I was mostly bored by this episode, and not even Avon and Vila could rescue it once they entered the mix. Therefore, I kept myself occupied googling what else Judy Buxton, the actress who played Inga, had done as she looked familiar. Turns out she was in I Don't Want to Be Born (1975), starring Joan Collins and a bunch of other cult legends no doubt ashamed of that god awful movie. She later married the actor who played Spike from the sitcom Hi-de-Hi. Rating: 5/10

Countdown

The Liberator reaches the planet Albion, searching for a Federation major once linked to Control Centre and might know of its new location. However, Albion's rebels are close to victory, thus the Federation activate a Solium radiation device which will wipe out all life on the planet. It's a race against time for Blake to find Major Provine, while Avon and Grant, a rebel who blames him for his sister's death, are on a tense-filled mission to deactivate the lethal weapon with the little time they have.

Once again, another stellar episode penned by Terry Nation. A riveting watch, with both plot lines lending to some thoroughly tense and suspenseful scenes. Incredibly entertaining watching all the convoluted hoops Avon and Grant have to go through in order to deactivate the bomb; even having to teleport to the polar ice cap and thaw it out. Loved it. Possibly the best of the second season, in my opinion. Rating: 10/10

Voice from the Past

During one of Cally's Rainbow Rhythms exercise sessions, Blake experiences severe mental pain brought about from the conditioning done to him by the Federation. It's revealed to be a subliminal signal, ordering him to divert from his ship's current course to the asteroid P-K118 instead. He convinces Vila it's a conspiracy engineered by the rest of the crew, where they subsequently lock them up. When Blake arrives on the asteroid's base, he meets rebel leader Shivan and Ven Glyn, a key figure who falsified evidence against him, who has defected over.

A convoluted episode from Roger Parkes, a writer who also contributed to a number of screenplays for another of Terry Nation's TV creations; the series Survivors. Sadly, what might have potentially been an episode full of of intrigue fundamentally yo-yos from tediously dull conversations to shambolically comedic once you see and hear Shivan on screen. I'm surprised the cast and crew were able to keep a straight face. Shivan's real identity is of no real surprise; it's so bloody obvious. Rating: 4/10

Gambit

After the events of Countdown, Blake learns that Control Centre has been renamed Star One and the former Terran Federation cybersurgeon, Docholli, might be able to know of its location. The crew of the Liberator find the cybersurgeon in the seedy quarter of the metropolis known as Freedom City, along with Travis working as the cybersurgeon's bodyguard. Blake, Jenna and Cally go in search of their their quarry. Meanwhile, unwillingly to be left behind, Avon and Vila take a shrunken Orac with them and hit the casinos. Unbeknown to them all, Servalan is also in Freedom City and on the hunt for Docholli and Travis.

Hard to believe Travis was such a villainous threat at one time, and yet he's reduced to skulking about in a hat and cape looking like the Phantom of the Opera. Servalan shines in this episode like a dominatrix from Hell. Once again, Avon and Vila's side story is the most fun. Vila playing speed chess against the Klute, "a galactic grandmaster", where the loser gets fried, was my favourite scene. This was another episode by Robert Holmes. Rating: 7/10

The Keeper

After finding Docholli, Blake learns that the co-ordinates to Star One are imprinted onto a brain amulet, worn around the neck of the planet Goth's ruler. Goth is a primitive world, whose natives live similarly to Viking culture. On their heals is Travis, who also happens to be after the amulet.

Another filler episode from Allan Prior, although Jenna has more to do in this episode; albeit feigning interest in the amorous advances of Goth's ruler, Gola. The McGuffins necessary to get to Star One have really outstayed their welcome by the penultimate episode. I also found the whole story rather predictable and lacklustre; the obvious plot twist being a particular crude set-up. Rating: 5/10

Star One

Lurena, a young technician on Star One, discovers that her fellow colleagues have been replicated by alien saboteurs. Climactic weather effects have already been felt across Federation worlds because of the sabotage on Star One.The Liberator finally reaches the base, where Blake and crew discover a vast minefield in the vacuum of space designed to keep something out. When the crew learn of an Andromedan invasion, Blake abandons destroying Star One and bides time for the now alerted Federation to stop the invaders. Thus, the Liberator is all that stands to fend off the armada until his sworn enemies come to aid in the battle.

Star One is an absolute belter and by far the best episode in the series by Chris Boucher. I like the obvious inspiration taken from Invasion of the Body Snatchers, along with the Andromedan fleet being forced to funnel through a small gap in the minefield with the Liberator holding them off. Essentially the Battle of Thermopylae, but in space. Which makes for a great cliff hanger. Apparently, Terry Nation intended for the invaders to be the Daleks. Of course, it never happened, but it adds fuel to the fire that Doctor Who and Blake's 7 were set in the same universe. Also, Travis didn't pull off anything immersion breaking to spoil the whole episode. Rating: 9/10

TL; DR:

Overall, the decision to include other writers was both a gift and a curse. It obviously worked for Terry Nation, since the episodes he wrote for the second season were amongst the best in the series. Even on my least favourite episodes, the character writing was mostly faithful (with the exception of Travis). The dichotomy between Blake the idealist and Avon the realist makes for some enjoyable chemistry between the two, which really flourished in this second season.

Regarding Travis, he was the biggest disappointment. That's partly due to Stephen Greif not returning to play the character for the second season. There was a twisted and psychotic menace about Travis in the previous season, and that's sadly lost in Brian Croucher's performance. Also, Greif looked far cooler with the cardboard egg box on his face as a cybernetic implant, than the tiny eyepatch Croucher has on. Croucher's Cockney inflection didn't help the character, either.

Also, I'm not surprised Sally Knyvette exited the series given how little she had to do. However, I am bewildered Jan Chappell stayed on for another season given how much of a dead weight Cally was. Gareth Thomas, who played Roj Blake would no longer be a regular after this second season. Blake's 7 without Blake! Paul Darrow's Kerr Avon would naturally take over as the show's lead, which was always apparent from the very first season.

Looking forward to the third season box set getting released next year! Fingers crossed there's a BBC still around to release it by then.

Blake's Lively

British science fiction series Blake's 7 (1978-1981) was already nearing the end of its lifespan when I was first aware of it. The vaguest of memories exist in my memory banks, thus it was only later on when I became aware of the show's cult following.

The brainchild of Terry Nation (the creator of Doctor Who's infamous Daleks), curiosity had me keen to in check out Blake's 7. Thankfully, the recent high definition release of the first season came out earlier this month.

A few notes on Blake's 7 season one:

Dark Star

Right off the bat, Blake's 7 is the complete antithesis of Gene Roddenberry's progressively optimism from Star Trek (1965-1969). It's dark, nihilistic, and perfectly captures the doom and gloom of notable seventies science fiction media. This downbeat tone is more than evident in the first episode when the show's amnesiac protagonist, Roj Blake (Gareth Thomas), finds out his family were executed, witnesses a massacre and is also framed as a nonce.

 

Baker's Dozen

Terry Nation wrote all thirteen of Blake's 7 first season. Given that the show was about a band of fugitives fighting back against a vastly superior and ubiquitous enemy, most of the episodes were driven with small victories in mind to a greater outcome. Along the way, some details pertaining to a main cast member's backstory would be revealed. In the case of Cally (Jan Chappell) and Olag Gan (David Jackson), they're written quite poorly and feel like dead weight. This is despite each of them having a dedicated episode which focuses on them. Also, Blake and his flight navigator Jenna Stannis (Sally Knyvette) gradually morph into the show's very own Fred and Daphne from Scooby Doo in later episodes. Definitely a mixed bag here.

 

Avon Calling

The computer wizard, Kerr Avon (Paul Darrow) elevates himself from being just one of Blake's recruits to the show's biggest star. The acerbically tongued anti-hero whose witty put downs, usually aimed at his cowardly crew mate Vila Restal (Michael Keeting), is a major factor to the show's appeal. This is a character who possesses the vibe of a potential double crosser, which makes him a tough person to second guess. Evidently, the show's writers felt the same way about Avon as he would eventually lead the crew in the last two seasons. Sadly some of the other characters are far less interesting.

The Villains in Black & White

Like all good sci-fi adventures, there's always a big bad; Blake's 7 features the Terran Federation. Much like Terry Nation's pepperpot baddies, the Daleks, the Terran Federation is the equivalent of space Nazis. Really like the design aesthetics of the villains:

• Federation Troopers: The lowly grunts look particularly sinister dressed in black overalls and gas masks. They look similar to SAS soldiers, but with fluorescent green rings around their heads; making them effectively sinister looking.
• Mutoids: The design aesthetic forerunners to the Hellraiser cenobites and Star Trek: The Next Generation's The Borg. Mutoids were mainly women whose memories were wiped and made to serve the Terran Federation as augmented elite guards. Despite the ridiculous, black wisdom tooth looking helmet and their pale grey complexions, these killer bondage femmes were cool in action; particularly the season one episode Duel.
  
• Space Commander Travis: Another highlight is the one-eyed psychopath Travis (Peter Greif), the agent hell bent on finding Blake and the Liberator. Really dig how he interacts with the rest of his circle. It's too bad Greif left after the first season as he was one of the most intense characters on the show and looked like he could have been from a Mad Max film.
  
• Supreme Commander Servalan: In striking contrast to all the black attire, the show's major villain, the vampish Servalan (Jacquelin Pearce) is the iron lady in angelic white. As far as fascist villains go, Servalan is the Margaret Thatcher to Travis's Michael Heseltine.

Low Budget

Much of the charm of the show definitely stems from it being low budget. It does lend to the run down and oppressive tone for its depiction of a galaxy ruled by tyrannical fascists. It also means the show's creative writing needs to do much of the leg work; and for the most part, it largely succeeds. Although, there's definitely room for improvement

• The lack of a modest budget is very evident with its production sets. Creased metallic foil on the walls of some sets and the recurring use of the English countryside and a quarry for outdoor locations. The bridge of the Liberator has more in common with a DFS showroom, thanks to its leather sofas, than one would imagine within an extraterrestrial starship.
  
• Some of Blake's crew are dressed like they shop from Millets or have just walked off from a Robin Hood production. The Terran Federation scores much better, on the other hand. They could easily be mistaken for early New Romantics; especially Servalan. 
• Big fan of the tribe of creatures known as the Decima from the episode The Web. They're the type of creations which could have been from an episode of Doctor Who which appeals to me.
  

Updated VFX

The modern visual effects of various starships or monitor screens are tastefully done and feel complimentary to the show. The Liberator and the Terran Federation pursuit ships look great on screen. These effects are not overused and definitely help with the general galaxy building.

TL; DR

Did not expect Blake's 7 to be so dark from the jump. It's all the more surprising that this was meant for prime time TV. 

 

By far the best character on this show is Avon. It's just a shame that his comrades aren't written with the same depth or quality; even Blake feels like a supporting character at times.

 

There's definitely major room for improvement. Terry Nation no longer being burdened as the only writer, does spell a possible correction. However, the show's charm and surprising subversiveness has me eager to check out what the rest of the seasons have to offer.

We Need to Talk About Kevin Tripp

Ghostwatch (Lesley Manning, 1992)

Considering how there's practically sweet F.A. worth watching on the BBC these days (other than Mastermind, of course), this is a good opportunity to revist a nineties gem from "Auntie" on its 30th anniversary. Ghostwatch was a reality TV mockumentary featuring familiar TV presenters, cast as themselves. This included: famous chat show interviewer, Michael "Parky" Parkinson as the condescending and cynical studio host; Sarah Greene as the on the spot presenter at the haunted North London home (obviously inspired by the notorious Enfield Poltergeist); her actual hubby, Mike Smith, back at the studio as the phone line presenter, while Craig Charles, of Red Dwarf fame, dilly dallying about outside the spooky house talking to a gathering crowd.

The beauty of Ghostwatch was its gradual escalation from supernatural folly to full blown paranormal absurdity. The program was and still is absolutely hilarious. From the creepy house's basement nicknamed "The Gloryhole", to Ken and Joyce Shrivener from Telford, reporting their radio died and the microwave wouldn't stop pinging, or Sarah Greene finding a mysterious wet patch on the carpet - pure comedy. Pick of the bunch was a caller named Kevin Tripp being spooked while having a sandwich. Parky was not amused and dismissed him as a crank caller.

"I had this sandwich; cheese and pickle sandwich it was, and well, it frightened me to buggery it did. I was minding my own business and this dirty, great plate sitting on the arm of my chair just dived off." - Kevin Tripp, Ghostwatch, 1992.

Aside from the over acting from both the distressed mother and the para-psychologist expert, I found the rest of the performances fairly convincing. The two young girls terrorised by Pipes (I shit you not), the resident ghost, were the best performers, in my opinion. They really do help sell the premise of this mockumentary. There's an air of Alan Patridge awkwardness about the film, but they do an awful lot to convey their fear in a believable manner.

Ghostwatch left a much talked about legacy in its wake. Many viewers hadn't tuned in at the start to see the opening credits, which revealed it was all fake. The BBC were inundated with complaints by proto-Karens after it aired. Cosidering the show was upfront, it was hardly on the same level of spectacular trolling like Orson Welles' War of the Worlds radio play had been in the 1930s. Still, it's funny knowing so many people out there fell for this admittedly well conceived prank. To be a fly on the wall of some poor pill head's crib that Halloween night and watching them freak out. Off your face and having Parky's demonic voice coming out of the TV would have been f**king priceless to witness.

It's worth noting Ghostwatch predates the likes of Orell Peli's Paranormal Activity franchise. That entire series of films owes its entire existence to this show. I also wouldn't be at all surprised if The Blair Witch Project (1999) and The Conjuring 2 (2016) took notes from the BBC one-off; especially the latter.

Definitely considered Ghostwatch while compiling my G.O.A.T Brit Flicks, but I hadn't seen it since it originally aired and didn't feel comfortable including it as it wasn't fresh in my mind at the time. Kind of wish I did after revisiting it, since despite being much older and even more cynical now, Ghostwatch was a definite gem from back in the day, and it still holds up. Classic television, right here.

The Moment I Feared: Part 4

Doctor Who (The Keeper of Traken - Part Four )

John Black, 1981

 

 

For this aging blogger, early eighties Saturday tea time TV could be summed up by the dulcet voice of Tim Gudgin announcing the football results, and the uncompromising science fiction theatrics of Doctor Who. Amongst a certain age range, Tom Baker's portrayal of the fourth incarnation of the scatterbrained Doctor was the most revered. The long running BBC series, which originally began from 1963, was plagued by numerous budget restrictions, but despite the wobbly sets and shite effects, where it excelled at was its creative writing. It was highbrow sci-fi to a youngster like me back then.

 

Robert Delgado's The Master; the arch-nemesis to The Doctor, came and went well before my time. However, the decayed visage of the character was perhaps my earliest memory of the popular sci-fi series, and it turned out to be an unexpectedly frightening viewing experience. Witnessing some rotten ghoul in a robe creep out of a grandfather clock and meld into the helpless Tremas, played by Anthony Ainley, was pure nighmare fuel for me. Judging by the video's YouTube comments, I wasn't the only one scared shitless by this scene. Ainley would subsequently continue playing The Master for the remainder of the classic era Doctor Who.

 

A pity that Nu Who fell off completely with the arrival of Chris Chibnall's tenure as its showrunner. Not even changing its traditional Saturday slot to a Sunday, and sandwiching it between Country File and The Antiques Road Show could save it hemorrhaging viewers. However, at least we got Stacey Dooley and Kevin "Cackling" Clifton dancing the "terrifying tango" on a Halloween special of Strictly Come Dancing because of it.

Cosh and Bex

The Firm (Alan Clarke, 1989)

Not to be confused with the Tom Cruise snoozefest, nor the vile British chart topper, Alan Clarke's BBC drama The Firm from 1989, depicting three rival football firms vying for the right to lead a nation of British thugs to the 1988 European Cup Championship in West Germany, was the business. Focusing mostly on Inter City Crew leader Gary Oldman's character Clive "Bex" Bissell, we follow his destructive path and his lasting effect on everyone around him. Over thirty years on, its ending is still as poignant today as it was back then.

Importantly, The Firm managed to shed an educational light on football hooliganism in the eighties; it revealed that it wasn't just the poor and feckless that were up for a ruck, but some of these violent participants were both well educated and living afluent lifestyles during Thatcher's Britain. The wide boys had moved up in the world and had become organised.

Clarke's direction was brave enough to never back away from the violence that unfolded, but neither did he focus longer than necessary. He also let his cast improvise when needed, giving the film greater realism. When aired as part of Screen Two's series of made-for-TV dramas, the BBC made cuts to the film, and it hasn't been until recent years that a restored director's cut made the light of day. Not to side with Auntie, but I doubt the unedited violence would have gone down too well with the Beeb during that time. Some of the restored footage is surprisingly shocking - even by today's standards. Ironically, the broadcasted edited version already proved to be controversial anyway. Can't imagine how many 'Disgusted of Tunbridge Wells' letters came flooding through Anne Robinson's box while she was presenting Points of View.

Peak performance by Oldman here, easily amongst his best to date. Without question, my favourite scene would be Bex casually popping over to his parents house and going into his old bedroom, full of old football memorobillia. We're given the most intimate side of Bex here; as we're privy to hallowed ground, while he pulls out his personal stash of weapons. What follows is Bex repeatedly bashing a retractable cosh on his bed while bellowing "Yeti!" and "Oboe", the names of his rivals, over and over again. Sterling supporting performances too by Lesley Manville playing Bex's better half, and her scenes with Oldman play out with sincere authenticism, which is unsurprising as they were real-life husband and wife at the time. Rival leader Yeti, played by Phil Davis is also superb; resembling a pony-tailed albino with a psychotic grimace, he's impossible to forget.

There's a veritable who's who of recognisable British actors here from some of the most popular British TV shows of all time. It's particularly funny knowing that Bex's crew includes: Charles Lawson, AKA Jim McDonald off Coronation Street; Steve McFadden, AKA Phil Mitchell off East Enders; Patrick Murray, AKA Mickey Pierce off Only Fools And Horses; and, the late Terry Sue-Patt, AKA Benny off Grange Hill. 

Alan Clarke passed away the following year, but he left behind an important legacy in British drama that is still respected today. In 2009, Yob Culture aficionado, Nick Love directed a remake of The Firm that I always meant to check out, but for one reason or another, never did.

The Firm (B.F.I.Trailer)

(Alan Clarke, 1989)