As the World Burns

The Day the Earth Caught Fire (Val Guest, 1961)

The enduring British heatwave provides an opportune time to revisit the prescient science fiction classic The Day the Earth Caught Fire (1961), written by Val Guest and Wolf Mankowitz. Guest’s impressive filmography as a director reflected the thriving health of the British film industry through the 1950s; as evidenced by The Quatermass Xperiment (1955), Quatermass 2 (1957) and The Abominable Snowman (1957) for Hammer Films. The decline would also be mirrored by his sex comedies Au Pair Girls (1972) and Confessions of a Window Cleaner (1974). Fortunately, The Day the Earth Caught Fire was produced during a period when both the quality of Guest’s output and the state of British cinema were far healthier. Nevertheless, the film maker had to utilise his own influence and establish a production company to bring this personal passion project to fruition. The film was not considered a desirable property by other studios. 

Presented in a striking yellow hue, The Day the Earth Caught Fire opens with a car announcing an important countdown as it drives through a dystopian Piccadilly Circus, in central London. The purpose of this announcement, is yet to be revealed. The scene transitions to a solitary man walking through a deserted Fleet Street, the hub of the British press. This man is Peter Stenning (Edward Judd in his first lead role), a journalist at the Daily Express, who is unable to write what might potentially be his final article and that of mankind, because the ink ribbon of his typewriter has turned into a molten sludge. He finds a work around by transcribing it to the perspiring copy desk worker on the other end of his phone.

“It is exactly 30 minutes since the corrective bombs were detonated. Within the next few hours, the world will know whether this is the end or another beginning. The rebirth of man or his final obituary. For the last time, man pursued his brother with a sword, and so the final fire was kindled. The Earth that was to live forever was blasted by a great wind towards oblivion. It is strange to think that barely 90 days ago…” — Peter Stenning

Before Stenning can finish his monologue, The Day the Earth Caught Fire flashes back to a more palatable monochrome visual, depicting the busy offices of the Daily Express. It’s raining outside. Amidst reports of floods in Ascot and earthquakes in Jakarta, an even more concerning hot scoop has occurred: the simultaneous detonation of two atomic bombs by the United States and the Soviet Union. Stenning is reintroduced in a less ominous context.

Due to a messy divorce, it is revealed that our once gifted journalist has hit a career slump, and the bottle. If not for the watchful care of his professional colleague, science editor Bill Maguire (the best Number Two from The Prisoner, Leo McKern), Stenning would have already been out on his ear by now. In the wake of the detonations, our protagonist is sent on a menial task by the paper to learn more about the recent increase of sunspots. The’ve been causing havoc on aerial transmissions. After barging his way to speak with the big cheese at the British Met Office, our reporter encounters Jeannie Craig (Janet Munro), a typist there who Stenning had been rude to during an earlier phone conversation. He subsequently receives a slap in the face from her. Even more humbling for our protagonist, he misses his sunspots article deadline, and it’s Maguire who saves his skin, by both writing the article and crediting it to Stenning.

Despite its sensationalist title, The Day the Earth Caught Fire approaches its outlandish premise with maturity and intelligence. This is largely due to the enduring relevance of its anti-bomb message and its prophetic vision on extreme climate change. The gravitas of the premise is reflected with the absence of a dedicated score. No bongos in this '60s science fiction film!

The nuclear detonations have caused widespread outrage. While attending a nuclear disarmament protest in Trafalgar Square, Stenning witnesses an unexpected solar eclipse. Along with the unusual weather conditions occurring globally, the Daily Express’s editor-in-chief Jeff Jefferson (played by real life editor Arthur Christiansen, delivering some truly amateur levels of acting in the few scenes he is in) hypothesises that all the phenomena are linked to the nuclear tests. Evidently, he isn’t the only one who believes this, hence an unexpected television broadcast by the government denying the connection.

The record breaking heatwave is felt all over the nation. After spending quality time at the funfair with his young son, Stenning has a chance encounter with Jeannie once again, while she is sunbathing by the Thames river. This time, it’s a much friendlier meeting between the two, and the potential of a romance appears to be on the cards. “Look there’s a lunch place down there, by the boating pool. We can get fish and chips and pretend we’re in Venice.” Classy. During the flirtations, the local crowd rushes to the edge of the Thames. An eerie fog, not unlike the luminescent one from John Carpenter’s 1980 film The Fog, envelops the entire city. Maguire theorises that the heat mist is the result of the melting of the polar ice caps. He further speculates that the unusual weather conditions can be explained by a shift in the Earth’s axis caused by the two atomic tests. Maguire’s hypothesis is confirmed when Jeannie reluctantly turns whistleblower. The global emergency is further worsened when Jefferson’s source in the Soviet Union reveals that the Earth’s orbit has been disrupted by the atomic tests, and has sent the planet hurtling towards the sun. 

The meticulous attention to the film’s three main characters fosters a strong emotional connection with them. Edward Judd’s character undergoes the most development throughout the film; from his initial saturnine state of personal despair, to receiving a new lease of life with his relationship with Munro’s Jeannie. Val Guest appears to favour having Janet Munro in compromising situations that emphasise her physical attributes and vulnerability. One notable example is her home being invaded by a cult of doomsday beatniks, terrorising her while she is naked in her bath. One wanders what would have happened had Stenning not come to her rescue in time. I find it reminiscent of the motel scene in Touch of Evil (1958), where a menacing gang of leather jacketed, greased-haired juveniles drug and abduct a helpless Janet Leigh. Rounding the trio off, is Leo McKern’s Maguire, who, beneath all the world-weary cynicism, offers a paternal-like helping hand to Stenning (“Tell me about sunspots, Daddy!”), giving him multiple chances to redeem himself. Perhaps he perceives Stenning as a lab rat in determining whether or not mankind can be redeemed.

Val Guest manages to incorporate genuine newsreel disaster clips, as well as editing in actual footage from anti-bomb demonstrations into his film. They provide an air of cinéma vérité and build a sense of urgency and realism to his doomsday tale. In the context of the news, it is evident that Guest holds a high regard for the press; portraying it as an honourable profession, rather than the bunch of lying, manipulative bastards of today. The inclusion of Arthur Christiansen, a real editor with limited acting ability, in the film may be considered excessive for the sake of authenticity, but I’m willing to believe Guest might have perceived the journalistic class was cut from a different cloth back then. The director even includes the original Art Deco building on Fleet Street, which still remains as the London headquarters of the Daily Express to this day.

Beyond the three leads, the film’s appeal is further enhanced by its depiction of the British public’s reaction to the worsening ecological situation. Initially, the heatwave is met with widespread enjoyment, as women on the high street wear bikinis and revel in the sunny weather. However, when the heat mist blankets the city causing the public to become disoriented and unable to find their way home, concern begins to grow. When water amenities become scarce and force the populace into queues, the film depicts a return to the familiar wartime spirit. As society descends into chaos, particularly among younger generations, who engage in street parties and rioting, the narrative transitions from the whimsical style of the Ealing Studios film to the more sombre and nihilistic tone of science fiction films from the late 1960s and into the 1970s. Definitely a film ahead of its time, in many respects.

Filmed in a 2.35: 1 aspect ratio, The Day the Earth Caught Fire presents the devastation of extreme climate change in a panoramic view. Les Bowie’s special effects are particularly striking in this format. Familiar landmarks and cityscapes are smothered by an eerie fog or distorted by the scorching heat, creating a surreal atmosphere.

I feel obligated to mention a couple of uncredited actors in the film. Carry On stalwart Peter Butterworth appears in a few brief scenes as a Daily Express journalist. An unusual role for him, considering he is primarily associated with being a comedic actor. Finally, there is a minor bit part for a young Michael Caine as a policeman warning our Stenning to “Stay clear of Chelsea! They say it’s pretty rough down there”, in his ever so distinctive Cockney accent.

In a desperate attempt to correct this disaster, both the superpowers decide to detonate two additional bombs, at exactly the same positions as before, hoping to return the Earth back to its natural orbit. The film concludes with ambiguity regarding the outcome. Two Daily Express front pages are hanging off the printing press: one celebrating humanity’s successful attempt to save the world, and the other lamenting its total destruction. Stenning's final monologue reflecting the ambiguity of mankind's fate in the film.

“So man has sown the wind and reaped the whirlwind. Perhaps, in the next few hours, there will be no remembrance of the past and no hope for the future that might have been. All the works of man will be consumed in the great fire out of which he was created. But perhaps at the heart of the burning light into which he has thrust his world, there is a heart that cares more for him than he has ever cared for himself. And if there is a future for man, insensitive as he is, proud and defiant in his pursuit of power, let him resolve to live it lovingly, for he knows well how to do so. Then he may say once more, truly the light is sweet, and what a pleasant thing it is for the eyes to see the sun.” — Peter Stenning

Unless one considers the US release of the film, which added the sound of jubilant church bells signalling the world had been saved. This is not the only classic British film to have its finale altered for its transatlantic release. The 2005 film The Descent features a similarly upbeat alternative ending that was the basis for an inferior sequel.

Given its age, The Day the Earth Caught Fire may disappoint those expecting something more akin to a trashy science fiction B-movie. This is a distinctly more serious film with a heavy focus on character and emotional resonance. Beneath the veneer of the doomsday scenario lies a story of mankind as its central theme. There are no Martians intent on obliterating us; our destructive enemy is ourselves. And it is driven home by Val Guest's didactic sense of urgency that makes it even more relevant today.

The Day the Caught Fire is currently available on Blu-ray in the US by Kino Lorber and in the UK by the BFI.

Drome Support

I recently watched the BFI documentary on the BBC's Moviedrome series. For those unfamiliar with it, Moviedrome was a television programme running from 1988 to 2000 that presented an eclectic selection of cult films to a wider audience. While not every feature appealed to me, it did broaden my knowledge of film. This was largely due to Moviedrome’s original host Alex Cox’s candid and informal introductions offering unique perspectives on films I wouldn't have otherwise known about. Cox provided valuable insights which were equivalent to film school for someone like myself.

Two observations I made after viewing the documentary: Mark Cousins's try-hard persona will always make him a disappointing replacement for Alex Cox — I cannot fault him for presenting both versions of The Killers, alongside The Warriors and La Haine as a double bill, though; and, we really need Moviedrome returning to our screens instead of twenty-six years worth of unbearable BBC dramas and docs made for wine-sozzled Guardianistas.

Here are some films that haven’t been shown before; a mix of old and modern favourites, that really need to be given the Moviedrome treatment, if it ever did miraculously come back just for one season:

This Gun for Hire (Frank Tuttle, 1942)

Brute Force (Jules Dassin, 1947) 

Dementia (John Parker, 1955)

The Sadist (James Landis, 1963)

The Collector (William Wyler, 1965)

Army of Shadows (Jean-Pierre Melville, 1969) 

Mumsy, Nanny, Sonny & Girly (Freddie Francis, 1970)

Wake in Fright (Ted Kotcheff, 1971)

Suspiria (Dario Argento, 1977) 

The Beyond (Lucio Fulci, 1981) 

Miracle Mile (Steve De Jarnatt,1988)

Riki-Oh: The Story of Ricky (Lam Nai Choi, 1991)

Perfect Blue (Satoshi Kon, 1997) 

The Descent (Neil Marshall, 2005)

Love Exposure (Sion Sono, 2008) 

Triangle (Christopher Smith, 2009)

Under the Skin (Jonathan Glazer, 2013)

The House That Jack Built (Lars von Trier, 2018)

Dinner in America (Adam Rehmeier, 2020)

The Substance (Coralie Fargeat, 2024)

The perfect cherry on top would be if another notable director with an appreciation for cult genre movies such as Edgar Wright were to present them.

Be Seeing You (Again)

Three types of people I do not trust: politicians, journalists and those who pretend to know all the answers to The Prisoner. The latter was a one-off series consisting of seventeen episodes that aired on ATV in the United Kingdom from 1967 to 1968. It followed the trend of spy shows at the time, particularly the popular series Danger Man (1960–1968). Both of which commissioned by the cigar-smoking TV impresario Lew Grade and featured actor Patrick McGoohan in the lead. McGoohan would also be the series's co-creator; as well as writer and director on several episodes. Where The Prisoner differed from its predecessor was in its deliberate subversion of the traditional formula. Instead, it embraced 1960s counterculture and postmodernist allegories.

The opening titles sequence sets up the series's premise perfectly. The titular character storming into his boss’s office and angrily handing over his letter of resignation (I love it when the tea cup leaps up from the saucer when McGoohan bangs his fist on the table with the sounds of a thunder clap), before being subsequently gassed and abducted from his home. Our hero awakens to find himself in a cell designed to resemble his actual apartment in an idyllic coastal village.

Despite his defiant protest of not being a number, McGoohan’s unnamed protagonist would be identified as Number Six by both his warders and fellow prisoners. Number Six would be subjected to dastardly scenarios designed to probe his mind and break his spirit in order to obtain vital information; namely the reason for his resignation. The ingenuity of these methods were worthy of being films themselves; ranging from the use of psychotropic drugs, elaborate role plays and mind-swapping; in fact the plot to A. B. and C. is strikingly similar to Christopher Nolan's 2010 espionage sci-fi thriller Inception; albeit, without the bloviated run time, gimmicky cityscape effects and Han Zimmer's BWAAH horns.

The prison without bars would also house a number of other individuals; presumably from a similar background to our hero. Number Six’s constant dilemma would be distinguishing between the inmates and the warders. What was abundantly clear was Rover, a white weather balloon that belted out a terrifying scream whenever appearing on screen, which served as the Village's guard dog. The bouncing spherical menace would retrieve escapees with their horrified faces imprinted on its latex surface; the stuff of nightmares for any child at the time. Who knew a balloon could be this scary?

Number Six's desperation to escape from the ever surveillant confines of the Village was halted by a constantly changing rota of actors (including Leo McKern Peter Wyngarde and Guy Dolman) playing Number Two; the main antagonist. The predominantly British cast in the series, indirectly suggested Number Six's captors were possibly his former employers. Considering The Prisoner was produced during the height of the Cold War, the series does however allude to both sides being indistinguishable. 

What is indisputable is how The Prisoner foresaw a dystopian world of mass surveillance and blatant abuse of our privacies. In the episode The Chimes of Big Ben, Number Two describes the Village as “an international community, a  perfect blueprint for world order. When the sides facing each other suddenly realise that they're looking into a mirror, they'll see that this is the pattern for the future.” Eerily prophetic. 

The rivalry between Number Six and the differing incarnations of Number Two was a key element of the series’s appeal. Each Number Two utilised a distinct method to extract information from his fellow "lifer", Number Six. In turn, Number Six would exploit any potential weaknesses he found in his enemies. In the episode Hammer Into Anvil, Patrick Cargill’s sadistic Number Two is driven to insanity by our hero after inciting a female prisoner to committing suicide.

Throughout the series, the recurring questions were: who was the eponymous prisoner before he became Number Six, and why did he resign? For the tuned-in audience, however, the identity of Number One was the biggest mystery of them all. By the time of Fallout, the final episode, the busy surrealism, head-scratching symbolism and absolute insanity would prove perplexing enough for it to be analysed and discussed for nigh on sixty years. Thus, apart from its overtly avant-garde 1960s visual aesthetics, much of The Prisoner’s enduring cult appeal stemmed from theorising interpretations of it. 

If Number Six represented the defiant individual, then the Village epitomised a collectivist world of conformity. Ironically, once Number Six’s right to be an individual is finally recognised by a kangaroo court in the climactic finale, a masked collective, representing various societal aspects, mockingly repeats his first word, "I!" And so, the mechanism of the collective hive mind continues on. Back in London, the sound of Number Six’s front door sounding like his cell in the Village invites the theory that both he and the viewer are both prisoners in the grand scheme of it all. Certainly food for thought, but frustrating for those expecting straightforward answers to recurring questions rather than symbolic allegories. 

When Fallout premiered, the viewers were so disappointed, they jammed up ATV's switchboards; eventually McGoohan was forced to go into hiding with his family. Time, however, has been much kinder to both the series and its star. The Prisoner has also been fortunate to be niche enough not to be dragged into a culture war battleground like other nerdcore properties; which is ironic, given many of the show's themes and subject matter are even more relevant today.

Considering McGoohan’s lifelong scrutinisation regarding The Prisoner, it is possible to categorise him as either a brilliant mind whose work was misunderstood by the "rotten cabbages", or as the perpetrator of one of our greatest media pranks, à la Orson Welles’ 1938 War of the Worlds radio broadcast and Panorama’s spaghetti tree hoax in 1957. Regardless, The Prisoner remains a compelling work that is worth revisiting for its sheer mind fuckery. It's also a lot of fun watching people getting accosted by a weather balloon, too.

Depending on where you are, you can watch The Prisoner for free on YouTube, along with Century 21 Films' superb feature length documentary about the series, The Making of the Prisoner: Don't Knock Yourself Out. 

No Flesh Shall Be Spared

Hardware (Richard Stanley, 1990)

2000AD was a weekly comic I would read throughout most of the 1980s and early 1990s. It was a font of creative talent exemplifying the comic book renaissance at the time; some of that talent, would be poached by the Big Two (Marvel and D.C.) and eventually see their works adapted into film.

It's no big secret that Paul Verhoeven's sci-fi classic, Robocop (1987), took blatant inspiration from 2000AD's flagship lawman Judge Dredd during its pre-production.

Similarly, writer and director Richard Stanley tapped into the Dreddverse with his debut feature film Hardware (1990). Evidently, Fleetway Publications, the owner of 2000AD, thought Stanley's film was doing more than just taking inspiration and successfully won a copyright case against it. Despite Stanley denying he ever read, SHOK!, the seven page story which first appeared in the 1981 Judge Dredd annual. Thus, SHOK!'s creators, Steve MacManus and Kevin O'Neill, were credited subsequent prints of the film.

Hardware is set in a dystopian future ravaged by atomic warfare. Nomads scavenge for scrap in an irradiated wasteland. Ex marine, Hard Mo' Baxter (Dylan McDermott), acquires a robot skull from one particular nomad. He gifts it to his sculptor girlfriend Jill (Stacey Travis) upon his long return home as a Christmas present. (Yes, it's a Christmas movie!) However, both Mo' and Jill are unaware that the skull is part of a deadly M.A.R.K. 13 robot capable of resourcing power, reassembling itself and delivering a fatal toxin. Furthermore, it is later revealed that the M.A.R.K. 13 was programmed by the government to reduce the human population.

The mise-en-scène is central to Richard Stanley’s vision, with the plot serving as secondary.  Dystopian cyberpunk imagery is prevalent. Future tech, metallic junk and urban rubble are everywhere. Computer generated wire-mesh visuals rotate on crummy monitors. Steam is ejected from unknown vents. And colourful lights cast Bava-esque beauty on metallic surfaces. Hardware is an unapologetic film that's all about style over substance. 

This is a nightmarish future. A stark example of the grim state of the human race is a child tied to its deceased mother on a forgotten apartment level. Furthermore, nonchalant media announcements for enforced sterilisations commencing in the New Year are chilling.

The performances are mixed. Stacey Travis and Dylan McDermott are great as the leads, maintaining professional composure throughout Richard Stanley’s avant-garde direction. They do their best with the material that they have available. John Lynch’s character Shades, is both shallow and superfluous. This is largely due to the character’s flat profile rather than Lynch's performance. Additionally, his Ray Bans and aviator jacket would have been more suited on a background extra in Top Gun than here. The character's solo scene, in which he appears high in his apartment, adds nothing to the film and is a time waster.

Mark Nothover plays Alvy, a dwarf junkyard trader whose voice appears to have been dubbed by an American actor. Despite his limited screen time Alvy’s role is more integral to the film than Shades and genuinely serves a purpose. The merchant is the one who discovers how dangerous the M.A.R.K. 13 is; adding urgency to the mix.

William Hootkins, best known for his role as fat X-Wing pilot Jak Porkins in Star Wars, plays Jill’s stalker neighbour. He is memorable as an odious pervert and for his bizarre singing of They All Walk the Wibbly-Wobbly Walk . You’re just praying for him to die horribly.

Given Richard Stanley’s background as a music director (credited for directing Superfly Guy by S-Express and Blue Pearl’s Naked in the Rain), he features several musicians in his film. The aforementioned nomad is played by Carl McCoy of Fields of the Nephilim, while Lemmy of Motörhead is a water taxi driver, crossing a polluted river with Ace of Spades playing on his stereo. However, the most memorable cameo is Iggy Pop as the off-screen DJ Angry Bob, whose over-the-top performance is notably quote-worthy::

"This is Angry Bob, the man with the industrial dick. Coming at you loud and clear on W.A.R. Radio. Rise and shine, folks! It's a beautiful day! Just look at that sky; it's a work of art. Huh! Nature never knew colours like that. And a friendly reminder: when you look at it, be sure to wear your shades! The radiation count's way up in the heatwave and ain't expected to let up, either. Weather Control tell us it'll probably hit 110 down town, before nightfall. As for the good news: there is no fucking good news! So let's rock with one of our golden oldies" - Angry Bob

Elsewhere, Public Image Ltd’s The Order of Death is prominently featured in the film. Soundtrack composer Simon Boswell provides an original score, consisting of loud industrial  and brash synthesisers. It may be considered intrusive by some, but complements the film’s high tech and junkyard metal aesthetic.

The film’s premise, a woman confined to her apartment with a killer robot, may evoke moments from other science fiction films such as Saturn 3 (1980) and The Terminator (1984), but Richard Stanley seems to forgo all that for much of Hardware's run time and spend most of it on the cool cyberpunk world he's realised. Admirable as that might sound, it does come at the expense of a very long wait for some slasher style action. At least forty minutes have to pass by before the M.A.R.K. 13 begins its murderous rampage. 

An example of Stanley's avant-garde approach is the surreal sequence involving the deadly toxin running through the veins of one character. A hallucinatory M.A.R.K. 13 appears like a dance artist on Top of the Pops, followed with acid trip style spiral patterns. Dramatic opera music soundtracks the fatal psychedelic experience.

Hardware did not resonate with me, initially. Despite its connection to my teenage interests at the time, its unorthodox style was too ostentatious for my liking. However, the film has grown on me considerably since then; largely due to its technical merits being so accomplished on a shoe-string budget (less than £1M, believe it or not). It retains a remarkable cyberpunk aesthetic that is both stunning and more stylish than numerous bigger budgeted studio efforts. 

Although not an easy recommendation, it is definitely worth checking out for any sci-fi film enthusiast and fan of cult cinema. Better than Alphaville, that's for sure.

Merry Christmas!

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.

Going Underground

Creep (Christopher Smith, 2004)

File Christopher Smith's directorial debut Creep (2004) as another overlooked Y2K era horror film constantly overlooked by wet-behind-the-ears film buffs on YouTube. Smith's subterranean themed chiller, located beneath the streets of London, was another important entry in the New Wave of British Horror as it was another quality entry in the movement; maintaining the momentum kickstarted by Neil Marshall's Dog Soldiers (2002) and Danny Boyle's 28 Days Later (2002).

Horror films set in underground caves and tunnels are of particular interest for your host, as they represent the primal fear of the dark and unknown. An abundance of phobias, like bathophobia (fear of depths), cleithrophobia (fear of being trapped), taphobia (fear of being buried alive) and the more familiar claustrophobia are inextricably linked to the dark below. Hence, horror set underground has resulted in some delightfully atmospheric films, like C.H.U.D. (1984), The Descent (2005) and As Above, So Below (2014). It also might explain why this humble film blogger is one of the few people who likes the unfortunately titled The Midnight Meat Train (2008) given the piss poor CGI gore effects and Vinnie Jones being in it.

George Clooney, the smarmy-faced global ambassador of those dreadful Nespresso adverts, is in London. Determined party girl Kate (Franka Potente) confidently assumes she's in with a chance in hooking up with the Hollywood A-lister if she gets to him in time. This means, she's willing to ditch the office party she's at, where her only entertainment is ridiculing Guy's (Jerry Sheffield, AKA the boyfriend in Natalie Imbruglia's Torn music video) obnoxious come-ons. Kate is wasted from the booze and drugs she's already partaken in and falls asleep at a train platform. When she wakes up, she finds herself all alone and locked inside a London Underground station. Thus, the premise is set and introduces the viewer to the subterranean world of its titular antagonist.

Creep is essentially a gore tainted, morality tale for our heroine. Kate's an arrogant and unlikeable individual, initially. However, given the film's grand order of horrid individuals — which includes the stuck-up bint queuing at a ticket machine, a jobsworth security guard (who really should have spotted Kate asleep at the train platform; the film's most egregious plot hole, for many) and the aforementioned Guy attempting to rape our heroine — Kate is the least insufferable of the lot. This doesn't absolve her condescending treatment toward the junkie homeless couple, Jimmy (Paul Rattray) and Mandy (Kelly Scott), who are squatting in the station's store room. Their chances of survival would have been far greater if the party girl never chanced upon them. 

In an archived interview with the BBC, Christopher Smith intended for Kate to be written this way:

"The idea of the story is, here's someone that you see every day whom you might not like but you might recognise in yourself - in the way that you step over homeless people and don't give them the time of day. I wanted to ask, how do we take a character that's this full of herself and this full of self-importance, and shake her down to a level where she can be mistaken for a homeless person? For me, the first likeable person in the movie is Paul Rattray's character [Jimmy], the homeless guy. And by the time you get to him, you're like, 'At last! A character we can actually like!'"

In retrospect, that's a refreshing aspect which distances it from the virtuous white tank top and high waisted jeans final girls of the 2000s. Additionally, Kate's canary yellow dress is a notable feature in the film, as it gets increasingly grubby and dirty throughout the progress of the film; ultimately leading to her being mistaken for a vagrant by a faceless suit and tie man at the end of the film. Reinforcing Kate's moral lesson.

That very same BBC interview, also clears up the notion I had about the film being a quasi-remake of Garry Sherman's subterranean horror Death Line (AKA Raw Meat, 1972), which also features an underground denizen who eats people. Smith hadn't seen the film at the time, and goes on to reveal that Creep was inspired by the London Underground scene from John Landis's masterpiece (and quite frankly, the greatest film ever made) An American Werewolf in London (1981). Always a delight whenever a director appreciates a proper film and not some pretentious one they were taught at film school. 

While Potente does a commendable job in turning her unlikeable character into a sympathetic one, it's method actor Sean Harris's performance as the titular villain, hilariously named Craig, who happens to be the biggest highlight of the film. Severely deformed, our antagonist looks like a cross between Gollum and a chav roofer in baggy shorts and Dr. Martens boots. Along with the heavy prosthetics, he physically exudes the part as the creepy denizen. In one particular scene, he descends down from an overhead vent, casually swinging with one arm before landing to the ground; like a hideous gymnast. Craig also emits a piercing shriek when he enters an area, which is both chilling and fascinating. Another great detail is how the he seems to alert his presence with a mischief or rats, like a mutated Pied Piper. This all leads to the vital question on the origin of the character.

Much like Marshall's The Descent, Creep also manages to contain plenty of visual stimuli, despite being set underground. Locations are surprisingly various: from the brightly lit Charing Cross Station; rat infested sewage tunnels; unknown storerooms; a long forgotten hospital basement; and an abandoned underground station that serves as the Creep's lair — overall, striking locations for this film. The constant surge of urgency for our protagonist, and a sewage worker ironically named George (Vas Blackwood) who is rescued by Kate, contribute to both a highly atmospheric and kinetic film, and why it's one of the more effective slashers from this era; especially given it's relative low budget.

In summary, Creep is an impressive debut from the writer and director who would helm Severance (2006), one of the few Danny Dyer movies worth watching; the psychological, mind bender classic Triangle (2009); and the folk horror gem Black Death (2010), the end of Christopher Smith's winning streak. Thus, it's a shame not many people know about his debut, other than brainlets prefering Patrick Brice's 2014 found footage film with the same name over it whenever it's discussed; which ought to be made a criminal offence, in my opinion.

Praying for a domestic physical release of Creep, as the recent Aussie Blu-Ray will easily break the bank to buy and ship it.