by hutchwp

かぐや姫の物語 / The Tale of Princess Kaguya (Isao Takahata, 2013)

The Tale of Princess Kaguya is a faithful interpretation of the classic Japanese fable The Tale of the Bamboo Cutter, one of the oldest folklore tales in the history of the country. It is also Isao Takahata’s fifth film as director for Studio Ghibli, following the dark Grave of the Fireflies, the fun ecological adventure Pom Poko, the episodic comic strip interpretation My Neighbours the Yamadas and romantic drama Only Yesterday.

It tells the story of Princess Kaguya, a tiny girl found inside a stalk of bamboo by an aging bamboo cutter and his wife. She rapidly grows in size into a beautiful young lady, though she hides a secret for which she must, eventually, face the consequences.

The first thing that hits you when watching this film is the breathtaking quality of the animation techniques. Putting aside the great storyline, the film is worth watching just for the fact it is so beautiful to view. It really serves to remind us how effective 2D animation can be and we’re lucky that Studio Ghibli is yet to embrace 3D animation in the same way as Disney has, all but throwing away their heritage (though nontheless still churning out mostly excellent films).

My favourite scene involved the princess running away from her adopted home in panic and fear. At this point the art style subtly changed and became more expressive and less controlled, with darker greats and blacks filling the screen, and it was an intelligent way to channel her emotions into the visuals.

There is an immediacy of beauty in the animation style.

There is an immediacy of beauty in the animation style.

The film arrives in North America and Europe with a lot of endorsements, not least the nomination at this year’s Adademy Awards in the category of Best Animated Feature (it lost out to Big Hero 6). I usually prefer the Japanese voice-overs with subtitles and was lucky to find a screening with this option, but the English-language cast is nothing if not star-studded (including Chloë Grace Moretz, James Caan, Lucy Liu, Mary Steenburgen and Beau Bridges). I look forward to being able to hear this version once it reaches home media later this year.

At 137 minutes it might be too long for most children but if youre looking for an intelligent way to entertain your family this weekend I heartily recommend this film.

The Tale of Princess Kaguya is out now at selected cinemas across the UK.

by hutchwp

Film review – The Out-of-Towners (Arthur Hiller, 1970)

George Kellerman (Jack Lemmon) and his wife Gwen (Sandy Dennis) travel from Twin Oaks, Ohio to New York City so that George can attend an interview for a promotion within his own plastics company. Though the trip is planned to perfection by the meticulous George, the plans quickly unravel when the plane is held up in landing and from then on everything that can go wrong, does go wrong.

The Out-of-Towners was the second time Lemmon worked on a Neil Simon film, the first being The Odd Couple (released two years prior to this release). It’s a shame that The Out-of-Towners doesn’t quite live up to its predecessor in terms of number of laughs delivered, though it is not without merits.

Jack Lemmon is at the forefront of most of the laughs.

Jack Lemmon is at the forefront of most of the laughs.

Jack Lemmon is in fantastic form as the increasingly irate George, who just wants everything to go according to plan. Ne it the delayed plane, the lost hotel booking or the missed reservation at The Four Seasons Restaurant, Lemmon delivers on a journey of frustration that I’m sure every viewer can associate with.

Sandy Dennis’s Gwen, though, contrasted George with a matter-of-fact interpretation of events, not allowing her anger to show aside from her disappointment with how George was handling the situations presented. It serves as more of a feeder character for more laughs from Lemmon, as her persona understandably makes George even more irate.

I watched this film because it was recommended to me by a close friend. It isn’t going to be something I rush to watch again but I certainly did enjoy it for the most part. At times I found Sandy Dennis highly annoying, but that was the point of her characterisation. I’ll never say no to a Jack Lemmon comedy though, and I can’t imagine the 1999 remake starring Steve Martin and Goldie Hawn is a patch on this.

The Out-of-Towners is available on DVD now, though the steep price tag for a PAL version may put most people off. It can also be seen currently on Netflix UK for those with accounts.

by hutchwp

Fußball, Wie Noch Nie / Football as Never Before (Hellmuth Costard, 1971)

In 2004, Zidane: A 21st Century Portrait, the much-celebrated documentary following footballer Zinedene Zidane throughout a 90-minute match, was released. The film featured a cracking soundtrack from Scottish band Mogwai and was overlaid with a one-on-one interview with the man himself. It was eye-opening and served as a fantastic snapshot of one of the greatest sportsmen of the modern era, providing an intriguing insight into a man many consider to be a genius.

33 years prior to this, however, there was made a now-long-forgotten German film called Fußball, Wie Noch Nie. The premise is so similar to Zidane that it really undermines what I thought at the time was a unique concept. In this film, we follow footballer George Best over a 90-minute match against Coventry City, which took place on 12th September 1970. There is no soundtrack and no interview overlaid, just Best doing what he did best – playing football.

George Best was at the back-end of the peak of his career when this film was released.

George Best was at the back-end of the peak of his career when this film was released.

Of course, it wasn’t the only thing he did well. For a full picture of the footballing legend you’ve got to include women, drinking and drugs in that list. As a Manchester United fan it can be frustrating that nowadays this overshadows what was a fantastic career, even though it was cut tragically short through his alcoholism (he essentially hit decline at the age of 26 in 1972 and spent the next decade never quite achieving the dizzy heights he’d already reached in the early parts of his career, playing in Scotland, Ireland, USA and Australia before retiring). This documentary serves an excellent purpose in that it gives us a chance to remind ourselves just how good he was on a game-by-game basis, and was taken during the back-end of the peak of his career: the 1970-71 season finished with Best as top-scorer and United finishing a respectable 8th; his team-mates included Brian Kidd, Bobby Charlton, Denis Law and Alan Gowling; Sir Matt Busby was eventually back in charge (though not in time for this game); memories of the European Cup victory were still fresh in the mind of the players and the fans. Manchester United were in transition, but for Best this season would prove to be one of his last memorable ones.

In case you’re wondering (spoiler alert), the game finishes 2-0 to Manchester United, with Best scoring one of the goals. Charlton scored the other. It perhaps wasn’t the most interesting game to select for this subject, but it’s nice to see a United victory and you get to experience what it was like to be in Old Trafford in the early 1970s.

It is by all accounts an experimental film. The half-time whistle goes and we are treated to a bizarre experience of staring directly into Best’s eyes whilst some hypnotic visuals serve as a backdrop. I suppose the aim is to challenge the viewer to try to imagine what goes through a player’s mind during the half-time interval, but it certainly doesn’t feel like that. Essentially, aside from this half-time segment, the film is more of an artefact than anything else.

It’s not particularly easy to get hold of. I had to import my copy from the German Amazon store, though as it’s PAL it will work perfectly well on your UK DVD players. Was it worth the effort? Well, I’m still undecided. It certainly isn’t for everyone, but I got a level of enjoyment out of it. For fans of both foreign, experimental cinema and Manchester United then I’d recommend it. Otherwise, you might be better suited to one of the highlight videos on YouTube.

Fussball, Wie Noch Nie is available from Amazon UK, though it will be cheaper to get from Amazon DE via import. No Blu-ray is available.

by hutchwp

Dear White People (Justin Simien, 2014)

The second of two films I saw at this year’s BFI Flare Festival, Dear White People is an American satirical comedy set on Ivy League Winchester University campus. It centres around several students who attend the predominantly white university, in particular: Sam White (Tessa Thompson), a sharp-tongued mixed-race film production major who runs a popular campus radio show called Dear White People, which challenges the university policies and mind-sets of both the school administration and the students in a humorous but cutting manner; Lionel Higgins (Tyler James Williams), a homosexual black student struggling to fit in and find his voice as an aspiring journalist; Coco Conners (Teyonah Parris), a black student who is secretly trying to land a role on a reality TV show set around campus, whilst simultaneously trying to garner fame through her video blog; Troy Fairbanks (Brandon P Bell), Sam’s ex-boyfriend and current school head of Armstrong/Parker, the all-black house on campus; Kurt (Kyle Gallner), a white student and son of the school’s president, who organises a controversial Hallowe’en party with a blackface theme in response to Sam’s outspoken radio show; and Gabe (Juston Dobies), Sam’s white boyfriend.

Tessa Thompson is a revelation in her performance as Sam White.

Tessa Thompson is a revelation in her performance as Sam White.

I was lucky to see this film. It was the subject of an online petition to raise awareness of the film and increase the pitiful number of screenings it received last year in the UK – just two at the BFI London Film Festival. These Flare screenings were again over-subscribed, which begs the question – why hasn’t it received a wider release? Perhaps it’s the fact it deals with some pretty hard-hitting issues whilst not losing its ability to entertain. Maybe the questions posed were deemed as too sensitive for a large distributor to pick it up. Either way, it’s a massive shame. This is a film that needs to be seen, not just because of its important content but also because it’s a fantastic and hilarious film.

Praise is due for both Tyler James Williams and Tessa Thompson. The former, fresh from his recent role in The Walking Dead as Noah puts in an assured performance as someone who himself isn’t very self-assured for most of the film. However, I’m surprised he is the cover-star of the film as, for me, the central storyline and most interesting character was Sam White. Tess Thompson (recently of Selma) is a revelation in this role, playing the angry student to perfection. It’s a character with some important opinions and without her it would have risked being just a good campus comedy, but without the hard-hitting message. When the cracks in her prickly character reveal her fragility, the results are astounding. As a character, Sam galvanises the same provocative thoughts in the students within the film as it does the viewers of the film, and there aren’t many teen-comedy characters in recent years that I remember asking such important questions of the viewer. Frankly, the performance is a revelation.

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The excellent acting performances reach throughout the large cast.

Elsewhere, I felt the tones and cinematography added a lot to Simien’s well crafted script and impressive performances. Topher Osborn channeled elements of Wes Anderson in the beiges and attention to detail that are clearly evident in these well-composed shots.

If you get a chance to see this film, then I heartily recommend it. As a white heterosexual British man, I inevitably felt discomfort as I sat in the cinema being challenged to think about the questions posed by the film. In many ways that was the ultimate goal and it will be a shame if the wider cinema-going public doesn’t get to see this fantastic story.

Dear White People does not currently have a wide UK release date.

by hutchwp

BFI Flare Festival 2015 – Review

I managed to catch a couple of films this week at the BFI Flare Festival at the Southbank. The review for effective indie drama Tiger Orange was posted earlier tonight and the review of the excellent Dear White People goes live tomorrow morning. I also reviewed Peter Strickland’s bizarre but hilarious The Duke of Burgundy when I saw it at the London Film Festival last year.

The festival had a great atmosphere and it was a pleasure to be part of it, even if I only managed to visit it for a day. It looked like most of the tickets sold out but for a handful of seats for matinee performances, so there’s still chance to check out some screenings if you’re quick.

by hutchwp

Film review – Tiger Orange (Wade Gasque, 2014)

I saw Tiger Orange earlier this week when it was screened as part of the BFI Flare Festival, a two-week festival at the BFI Southbank in London that screens films with LGBT topics at their heart. It’s an effective piece of cinema that makes the most of its limited setting and low budget.

The premise is quite straightforward: openly gay Todd (Frankie Valenti) returns to his small Californian hometown following the death of his homophobic father (Vincent Duvall) and is reunited with his older brother Chet (Mark Strano). Seeking to hide his sexuality whilst running the family hardware store, Chet struggles to accept how open Todd is about something he has spent his life trying to hide from the local community.

Strano (centre) and Valenti (right) bring their characters to life with some really effective performances.

This storyline is a good platform for the exploration of the characters, who are well-developed in a relatively short period of screen time (76 minutes). I think the fact it is such a small community and they are living in an isolated cabin house – and sleeping in their childhood bunk-beds – means that their fast development is also quite believable. Indeed, it’s debatable whether the childhood flashbacks are absolutely necessary, serving only to underline how homophobic their father was. Other than this, it’s a tight story and there’s absolutely no wastage in present-day screen time.

I was impressed by the acting performances too, with both leads actors clearly at ease in their characters, probably drawing on some levels from their own experiences. Strano does well to hold his own in a more understated role, when lesser actors would have allowed Valenti to steal the show with a more immediate and attention-craving character. I was surprised to read that Valenti used to be a pornographic film actor, such was his performance in this film. I’m not convinced the sort of depth of character was necessary in his previous line of work.

Gasque has made the most of what was likely a relatively low budget and created something special. I doubt this will reach a wide audience globally, but those that do seek it out will be rewarded.

Tiger Orange is not currently scheduled for a wide UK release. It was recently picked up for global distribution with Wolfe Releasing.

by hutchwp

The Long Way Down (Pascal Chaumeil, 2014)

The latest Nick Hornby book to be given the big-screen treatment, The Long Way Down is on the face of it quite a distasteful basis of a comedy drama. The premise is that four people – played by Aaron Paul, Imogen Poots, Toni Collette and Pierce Brosnan – go to the top of a tower on New Year’s Eve with the same intention: the commit suicide. Talking each other out of it, their shared experience brings them closer together and they form an unconventional but essential bond.

It isn’t one of Hornby’s best films. Perhaps it’s the disbelief I found in the unlikely friendship they build with one-another. Perhaps it’s the light-hearted touch with which director Chaumeil has dealt with the source material. Perhaps it’s the fact that all the main characters are annoying in their own special way. Perhaps it’s just that I don’t want to see a comedy about suicide.



That’s not to say that all potentially distasteful comedies have nothing to offer. 50/50 was probably the best comedy I saw in 2011. I guess it just has to be dealt with in the right way.

There are some effective moments. The scene in which Rosamund Pike cameos is a precursor of her sinister turn in Gone Girl. Poots gives an assured performance throughout, giving life to a potentially film-ruining character. There is a heart-wrenching moment near the end with Collette and her son, which adds a lot of depth to her character, albeit late in the day.

I liked the way the film resolved itself. I just didn’t really enjoy the journey that took me there.

The Long Way Down is available on Blu-Ray, DVD and Netflix now.

by hutchwp

Mario Party 10 / マリオパーティ10 (Nintendo, 2015)

marioparty10banner

No new Nintendo console system would complete without the release of updates of several mainstays of their library. We’ve had excellent and perhaps definitive versions of Mario Kart and Smash Bros., and a fantastic 3D platformer in the form of Super Mario 3D World. So, what’s next? Mario Party, that’s what. The Mario Party games have been a regular since it debuted on the N64 console in 1998. It was no surprise when Mario Party 10 was announced for the Wii U.

It’s a series that seems to fill everyone with indifference. The releases always get middling sales, probably due to the average reviews each receives. Indeed, the MetaCritic score received by each title had been getting progressively worse since its debut, though Mario Party 9 reclaimed some ground with some innovative gameplay and presentation techniques. The graph below ignores handheld games Advance, DS and Island Tour, but you can see it resembles something of a ski slope.

MetaCritic results for Mario Party franchise (console only)

MetaCritic results for Mario Party franchise (console only)

The following graph shows the sales for the same console games as a percentage of the total console sales. The results are again quite interesting – with the exception of Mario Party 7 the sales of the games on each console peak with the debut release then decrease in popularity with each release (source: Video Games Sales Wiki).

Mario Party sales as a percentage of total console sales

Mario Party sales as a percentage of total console sales

So as we can see, there’s a market for the games, but it’s not particularly massive in comparison to the big hitters like Mario Kart. So what reason has Nintendo given us to invest our hard-earned money in the latest release, given almost everyone who has a Wii U has one of the earlier releases, or did at one point? Well, as it turns out, quite a lot.

One of the big angles is the use of asymmetrical gaming (remember that?) through Bowser Mode, which actually provides a lot of fun, especially if you’re using the gamepad. The fun comes from the fact that you have a real person screwing you over instead of the computer, and it makes it even better when you can hear them laughing away at your misfortune. To play out in this mode you have one person using the gamepad, whilst up to four others control play via remotes and work as a team to try to escape Bowser. Each regular player rolls a die on their go and gets to move a cart forwards and individually reaps the benefit from whatever space they land on. Then Bowser rolls four dice in one and more often than not catches them up, leading to a mini-game.

The mini-games are a lot of fun, and usually leads to a lot of swearing from four people in the room and a lot of laughing from the other one. One drawback to this is the waiting time between mini-games. I think Nintendo got too involved with the animation and activities between the mini-games and didn’t take step back and realise that all it is doing is delaying the time before we get to play more mini-games. You know, the fun bit. 

Six Mario Party 10 Amiibo have been released as a tie-in.

Six Mario Party 10 Amiibo have been released as a tie-in.


Another angle Nintendo are employing is the use of Amiibo. This isn’t a unique selling point as much as a way to get people that have already invested heavily in the Amiibos to buy the game. There are six launch Amiibii – Mario, Luigi, Yoshi, Bowser, Peach and Toad, in his Amiibo debut – that interact with the game, though I understand that the Smash Bros. versions of the Amiibo also function in the same way. As I’ve previously discussed, Amiibo are incredibly, almost unfathomably, popular and linking in this game they will be able to increase games sales. Additionally, the Toad Amiibo will function with Captain Toad: Treasure Tracker (which I have previously reviewed) and Yoshi will function with Yoshi’s Woolly World.

The downside of this is that using the Amiibo with the game is a complete pain. The Amiibo Mode involves using your model to unlock a specific character-related board game. Then you and up to three other players battle out around the board to play mini-games to earn coins to buy stars. The winner is the one with the most stars. When playing in this mode, everyone else in the room was able to roll the dice with a quick flick of the remote, whilst I was sat in the corner switching between the gamepad (which had to be plugged in due to the unimpressive battery life), the remote and the Toad Amiibo I was using. The action to get it to register also wasn’t too great and I was the one slowing the game down drastically by using the Amiibo. A quick update would remove the need to use the Amiibo to roll the dice and would severely speed up this process.

The other modes are pretty cool. The standard Mario Party was what you’d expect and a lot of fun, and the Coin Challenge mode simplifies the gameplay a little too by removing the chance aspect and rewarding the one with the most coins at the end of seven mini-games. The mini-games themselves really weren’t repetitive (the box claims there are more than 70 new ones). I think it took about three hours before we encountered a game we’d already played.

Watch out for Bowser - he's a total asshole

Watch out for Bowser – he’s a total asshole


Another big downside is the inability to make a custom playlist where you can select a series of mini-games from the total list with no breaks in gameplay between, which would mean you could select just the ones you enjoy based on difficulty and personal preference. Instead we are in the hands of the console and often have to play through games that are too easy before getting a real challenge.

I have enjoyed my time with Mario Party 10 so far and I’m sure it will be used many times in a party situation soon. However, I think some critically slow loading times and too much between-mini-game faffing will cause the game to be a bit of a drain on the excitement at a party rather than a catalyst for more enjoyment. Couple that with a lack of online multiplayer and you have a game that has potential but falls short. Though I’m sure that will be sorted out when Mario Party 11 is release in 18 months.

Mario Party 10 is available now, along with all six Amiibo (which as usual are rapidly increasing in price due to lack of availability).

by hutchwp

City Girl (F. W. Murnau, 1930)

One of the greatest shames of the history of film is the sheer amount of films directed by F. W. Murnau that have been lost. Dying at the young age of 42 following a car accident a week before the premiere of his final film, Tabu, he left a legacy of just 21 directed films, of which twelve survive. These include: Nosferatu (1922), Faust, (1926), Sunrise (1927), City Girl (1930) and Tabu (1931) – all classics. Without a doubt the most sought after lost film is 4 Devils (1928), one of only four American films he made before his untimely death. So as a result we are left with just three films from this latter period of his life. Sunrise is the most popular, having won the first Best Film Oscar (sort of [1]). The other two are readily available, and it is City Girl that I’d like to discuss today.

City Girl is a silent film released after the advent of talking pictures. The plotline covers a young farmer named Lem (Charles Farrell), who is sent by his father to sell the wheat crop in the city. After panic-selling the wheat as the prices dropped in value, he goes to a coffee shop and falls madly in love with waitress Kate (Mary Duncan). Soon after they get married and they set back to the farm to introduce her to his family. However, his father is bitterly disappointed with the cripplingly low price his son has sold his wheat for and in his anger struggles to accept Kate into the family.

Both leading actors have been captured beautifully in this shot.

Both leading stars have been captured beautifully in this shot.

What I found really unique about this film is the surprisingly modern portrayal of Kate by Duncan. She is certainly not a typical silent leading lady, and in fact throughout the film she is usually the most headstrong character. It works well as the mother of Lem is extremely passive and non-confrontational, further underlining Kate’s strength of character. Perhaps we could attribute this to the fact Katy is from the city and Murnau wished to portray city dwellers as a different beast to those from the country, but I prefer to assume it is because he wanted to show the world one of the first truly strong female lead characters. Indeed, Murnau even has a nod to a previous leading lady of his in the opening scene, with a woman looking suspiciously like Janet Gaynor’s wife from Sunrise trying to flirt with Lem on the train, only for him to give her the cold shoulder. It could be coincidence, but more likely it was a knowing nod to the audience to let them know it won’t be a repeat of his previous work – Lem looks so disinterested in her and this is underlined for the audience.

The whole film works really well, building to a ferocious storm-set climax. It must have been something to do with the pacing, but I was on the edge of my seat by the end hoping things worked out. It was a pleasure to see such a great piece of cinema for the first time and I’m only sad I won’t be able to see it again.

I’m glad I saw this. It’s the first Murnau film I’ve seen that isn’t common to the wider audiences. Whilst Sunrise and Nosferatu are must-sees, if you liked them then you probably should see what else his catalogue has to offer. It won’t take long to see everything that’s available, but City Girl is a great place to start. The next Murnau film I’d love to see Masters of Cinema release is Der Letzte Mann, a 1924 German silent picture that is currently unavailable in the UK. Come on, you know it’s right.

City Girl is available on Masters of Cinema dual-format Blu-ray and DVD now.

[1] The first Academy Award for Best Film is disputed because there were two awards given out on the night that were never again awarded. One for Outstanding Picture went to Wings and the other for Unique and Artistic Production went to Sunrise: A Song of Two Lovers.

[2] Mary Duncan was, incidentally, the last known person to own a copy of the film 4 Devils, which she subsequently lost… but we’ll forgive her for that as she is so good in this film.

by hutchwp

Das Cabinet des Dr. Caligari (Robert Wiene, 1920)

I finally got around to watching Dr Caligari, having had it near the top of my “to watch” list for around six months. It was a Friday 13th weekend so it was a perfectly timed purchase. Watching it was a fantastic experience and the quality of the film belies its 95-year-old lifespan.

Our story opens with a man’s recounting of a tale about the appearance of a mysterious somnambulist show that is exhibiting at a local fair in Holstenwall, a small town near Hamburg in Germany. The show is compered by the strange Dr Caligari (Werner Krauss) with the centrepiece provided by a devastatingly eerie Cesare (a pre-Casablanca Conrad Veidt). When a number of murders are committed, including one predicted by Cesare, the two exhibitors are instantly installed as the prime suspects and panic spreads across the town. [1]

With a narrative as twisted as the set on which it plays out and a plot that throws the viewer off the scent with every turn, the film is way ahead of its time across the board. Indeed, I think the biggest blocker for me guessing what was happening was the fact I underestimated quite how advanced a film released in 1920 could be. It’s probably worth bearing that in mind before watching it.

Actually, this is a fantastic starting point for those wanting to learn more about silent films and German expressionist cinema. This was the birth of the latter, as well as both horror films and twist endings. For this reason, it is wholly a ground-breaking film that needs to be seen to fully understand the landscape of cinema at the time. That’s to disregard the political context too, which the film has been closely linked with being a metaphor for – as a German film released in the aftermath of The Great War this is somewhat inevitable, especially since the two writers Carl Mayer and Hans Janozwicz were both soldiers in this war.

I wouldn’t class myself particularly as a die-hard fan of the silent era, though I have seen a handful of the more prominent pictures (mainly Masters of Cinema releases and Charlie Chaplin’s more famous works). I am slowly getting more and more into it thanks to unrivalled access to the entire history of film via both physical media and digital streaming services. It has never been easier to dip your toes in and see what you enjoy out of a wide variety of films and television series. Couple that with the endless streams of discussion pages, essays and blogs on film and you can really think about it as a very advanced education in cinema.

Dr Caligari is a prime example. The Wikipedia page alone is like a short essay on the development, production, release history and reception of the film, complete with links should you wish to find out more information from the original sources.

The set design is as twisted as the plot itself.

It’s good to take a step back and appreciate exactly how far we have come. I remember my family’s first Windows-based computer [2] – a PC running Windows 95, which was then state of the art. As the internet wasn’t readily available we had two computer-based options to do research: Encarta Encyclopaedia and Microsoft Cinemania. The latter was a bit of a godsend for someone who was interested in cinema, with over 20000 films detailed with stills, sound clips and some even having short video clips. It was rudimentary but quite spectacular. As I was 11 at the time my main priority was watching a short but thrilling clip from Nightmare on Elm Street, so I can’t really remember whether Dr Calgari was covered, though I suspect it was.

Now, though, we can search “Dr Caligari” and retrieve 563,000 results on Google (other search engines are available but they generally aren’t as good). Two of the top results give the ability to stream it for free, with two versions available on YouTube. I just think it’s fascinating we are able to do this now, and even more amazing that we now just take it for granted. Progression, eh?

Well, it doesn’t stop there. The basic picture quality is incomparable to what was readily available some twenty years ago. Back then you had three choices if you wanted to see an older film again: wait for it to be re-released at the cinema, wait for it to come onto television, or buy a VHS copy of it for around £15. This latter one allowed you to access the film much sooner, but the picture quality was just atrocious and really unwatchable by today’s standards. Nowadays, you can pick up a Blu-ray copy of most films for less than £10, often closer £5, and the picture quality is like a dream for cinephiles.

Apologies. I digress. The film itself is pretty mind-blowing. I don’t really know where to start with it, and there has been a great deal written about this film elsewhere by people with much better vocabulary. The bottom line is that I was thoroughly impressed. The twisted design, the tense music (I listened in 5.1), the staccato body movement that gives the acting a really sinister edge, the subversive plot. They all combine to present us with a journey that was way ahead of its time. As the reality behind what I was seeing became clear I was left absolutely gobsmacked by the ending. It’s just a must watch for anyone keen to get to grips with the history of cinema.

Das Cabinet Des Dr Caligari is available now on Masters of Cinema dual-format Blu-ray and DVD.

[1] It’s funny that I’m attempting to not give away any of the plot when describing the film. It seems 95 years isn’t enough time to wait before spoilers are okay. Think about that the next time you want to talk to someone about the next episode of that show you both like but they haven’t seen.

[2] Our first home computer of any kind was the extremely popular Commodore Amiga, which was originally released in 1985. I’m not sure exactly which model we had as it has long since disappeared, though I suspect it was a 500. I don’t recall it ever being used for word processing and it certainly wasn’t connected to the internet, such was life in central Lancashire in the mid-1980s.