IT AIN’T HALF HOT, MUM. (1974-1981) A CLASSIC COMEDY SERIES REVIEWED BY SANDRA HARRIS. ©

IT AIN’T HALF HOT, MUM. (TELEVISION SERIES: 1974-1981.)

WRITTEN AND CREATED BY JIMMY PERRY AND DAVID CROFT.

STARRING WINDSOR DAVIES, DONALD HEWLETT, MICHAEL KNOWLES, MICHAEL BATES, DINO SHAFEEK, BABAR BHATTI, MELVYN HAYES, DON ESTELLE, GEORGE LAYTON, CHRISTOPHER MITCHELL, JOHN CLEGG, STUART MACGUGAN, KENNETH MACDONALD AND MIKE KINSEY.

REVIEW BY SANDRA HARRIS. ©

‘Shuuuuuuuuuuuuut up!’

‘Don’t be such a silly arse!’

‘Oh dear. How sad. Never mind.’

‘Move yourselves, move yourselves!’

‘Land of hope and glory, mother of the free…’

‘Meet the gang ‘cause the boys are here, the boys to entertain you…!’

I bloody love this television series, one of the best and funniest I’ve ever watched and certainly the one with the biggest heart. The camaraderie, affection and even love between the characters and the actors who play them is just wonderful to witness, and the laughs and ridiculous shenanigans helped my kids and I through the rather grim months of April and May of 2021, the last uncertain days of Ireland’s third – and hopefully last- coronavirus lockdown.

The series will no longer be shown on television, as it doesn’t conform to modern standards of political correctness. It’s racist, sexist and homophobic, according to these modern standards, but it was the way people talked back then and we can’t pretend they didn’t.

My kids and I simply looked at each other and remarked, you couldn’t get away with that nowadays, whenever a character said or did anything outrageous by today’s standards, and then simply went back to enjoying the genuine laughs, jokes and witticisms with which the show is chock-a-block.

The show is set in Deolali, India, and then Burma, in 1945. The characters are soldiers in the British Army, but they’re soldiers with a difference. ‘They is a bunch of bloody poofs,’ as their largely intolerant Sergeant Major Williams would say, or, if you prefer, they are artistes in the concert party, putting on shows for their fellow soldiers to keep up morale and whatnot. Courtesy of ENSA, or the Entertainments National Service Association, or even ‘Every Night Something Awful,’ as screenwriter Michael Armstrong once rather wittily put it…!

The theme of Imperialism runs through the show, as the British are still occupying India for the first half of the series, and then the action moves to Burma after the war in Europe is technically over, but the Japanese seemingly never read the memo and are still fighting away until a certain bomb, lightly handled in the show, puts a definite stop to all that.

The concert party are somewhat privileged in that they are excused the usual duties of soldiers- fighting the enemy, being killed and sent home to Blighty in a box, etc.- in order to dress up as women and dance and perform variety acts and sing all the old show-tunes for the benefit of the demoralised British troops still in India and Burma.

Sergeant Major ‘Shut up!’ Williams, magnificently played by the barrel-chested Windsor Davies, is always bawling and screaming at them and trying to turn them into proper soldiers by means of rigid army discipline, drills, inspections and PT, but mostly he just despairs of them and their unseemly transvestism and ‘parading around dressed as tarts,’ as he so sensitively puts it.

 He loves ‘em too, though, deep down- very deep down- especially Gunner Parkins whom he suspects of being his son from a dalliance with an English bird twenty-something years ago. Gunner Parkins- ‘Parky’- is the concert party ventriloquist and resident comedian (not a very good one, mind) and has a fine pair of shoulders, bless him, and will really make summat of himself one day, what wiv ‘im being so good-looking an’ all.

Gunner- later Bombadier when ‘Solly’ Solomons gets demobbed back to England- Gloria Beaumont is the concert party’s producer and resident diva. He is effeminate and highly prone to ‘getting historical’ (‘I can’t take it anymore! Is there no end to this green hell?’), but apparently not a homosexual, despite the Sergeant Major’s frequent assertions, merely a transvestite who adores to dress up as Ginger Rogers…!

Lofty Sugden is the smallest and feeblest of the concert party, and is therefore the one who hilariously gets stuck with all the worst and most dangerous jobs. (‘Well, ta-ra then!’) He has a beautiful tenor singing voice, and is the pride of the concert party, next to Gloria’s show-stopping razzle-dazzle Busby Berkeley-style full costume numbers.

Gunner ‘Atlas’ Mackintosh is aggressively Scottish, and ‘a big butch hairy haggis,’ according to Gloria. He’s the concert party’s resident ‘strong man’ and tears telephone directories in half on stage. His funniest moment on the show is when he’s dressed as Marlene Dietrich and singing ‘Falling in Love Again’ in the most Scottish accent imaginable. ‘I cannae help it…’

Gunner ‘Nobby’ Clark does lovely bird impersonations and has a great face for comedy, especially when he’s pissed off or taking gentle(!) abuse from the Sergeant Major. Gunner ‘Nosher’ Evans does a paper-tearing act and his main hobby is eating.

‘Mr. La-di-dah Gunner ‘Paderewski’ Graham is ribbed and imitated mercilessly by the Sergeant Major for having a bald head and a super-posh voice due to his ‘university heducation,’ but sometimes he has good ideas that get the gang out of the crazy scrapes they find themselves in in every episode. If his ideas fail, well then, ‘bang goes that theory!’

The ‘hofficers’ next. Colonel Reynolds and Captain ‘Tiffy’ Ashwood are English toffs, basically kind-hearted but they consider themselves a cut above the soldiers and the Indian and Burmese ‘hoi-polloi’ and end each day with cocktails on the veranda.

When there’s a food shortage and they have to break into the maraschino cherries and olives to escape starvation, Captain Ashwood hilariously remarks, in the middle of the jungle, in a horrified voice, ‘what if someone pops round for drinks?’

Colonel Evans is splendidly embroiled in an extra-marital affair with the wife of a fellow officer who’s away in the Punjab. Tiffy, with a brilliantly affected posh voice to rival Gunner Graham’s, is a supposedly uxorious hubby who wouldn’t dream of being unfaithful to his wife Fiona, that is, until a particularly juicy ‘Chinese bit,’ as the Sergeant Major calls her, happens along…

The ‘hofficers’ are humorously portrayed as being work-shy, selfish, idle and cowardly. They go out of their way to avoid confrontations with the war-like Japanese, and they unashamedly pass all the dirty work onto the Sergeant Major, who lives for the Army and wouldn’t dream of shirking any duty, however unpleasant.

The English are definitely as much figures of fun as the Indian characters they look down on. In fact, the three constant Indian characters are constantly taking the piss out of ‘we British,’ and they get a good few clever little digs in about their imperialistic overlords. People only seem to see the racism directed against the ‘damned natives,’ but I’m telling you the so-called ‘coolies’ get their own back neatly at times. Racism is a two-way street, you know.

For the first five series, an Anglo-Indian actor, Michael Bates, portrays Bearer Rangi Ram, the Indian narrator of the series who ends each show on a piece of native wisdom. He was chosen for the part because he spoke fluent Urdu and had been a captain in the Gurkhas, and in any case the producers were unable to find a suitable Asian actor for the role.

Muhammad is the lovely, cuddly char wallah, which means he’s in charge of the tea, and Rumzan, the punka wallah, is responsible for pulling a string all day which turns a fan which keeps the officers cool in their quarters.

Yes, it’s a horribly demeaning job, and people often feel entitled to kick him as they pass by to gee him up a bit work-wise, but he’s dryly sarcastic and sees more and knows more than his dopey British overlords give him credit for.

His ‘thing’ is to speak fluent passages of Hindu ending with a pithy epithet in English that exactly sums up the situation ongoing in the army camp at the time. Who’s laughing at whom, exactly? I tell you, it’s a two-way street, this.

June Whitfield from the CARRY ON movies and ‘Nineties sitcom ABSOLUTELY FABULOUS plays the spicy little Captain Tollemache, the visiting welfare officer for the soldiers, in one very funny episode. It’s funny because she’s more interested in the welfare of a certain Captain Ashwood’s than in anyone else’s, lol, but the- mostly- faithful Captain Ashwood is horrified by her close attentions.

Apart from Daphne Waddilove-Evans, the pipe-chomping Colonel’s occasional love interest, and Ling Soo, the ‘Chinese bit’ – not my words!- that’s pretty much it for the women, except for the odd mention of Gunner Parkins’s ma, who was once the Sergeant Major’s sweetheart. Once being the operative word, if you know what I mean…

I’m glad I decided not to let feelings of political correctness stop me from enjoying this lovely, big-hearted comedy series. It was a different time, that’s all. They were men of the ‘Seventies making a show about men in the British Army stationed in India during the war. You’d have to expect some wildly colourful and even racist, sexist or homophobic cracks. Remember, the term ‘woke’ back then still referred to the time you got up. Don’t let it ruin your enjoyment of this excellent show.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Vampirology. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books:

The sequel, ‘THIRTEEN STOPS LATER,’ is out now from Poolbeg Books:

Something to think about – Rewind – Dodgy Book Promotion sites – The only numbers that are accurate are their prices by Sally Cronin

Smorgasbord Blog Magazine

It is a couple of years since I posted this warning about some book promotions sites that promise the earth and give you nothing but empty promises… and thanks to Barbara Spencerfor the reminder. Especially as only recently another so called ‘Mega’ book promotion site contacted me with even more fictitious numbers.

Dodgy Book Promotion sites – The only numbers that are accurate are their prices.

SCAM ALERT: 5 Basic Things You Should Know About Scam

First let me say that I am fully aware that there are established book marketing websites with testimonials as to their effectiveness. Prices will range depending on campaign and Amazon is probably one of the largest of the sites to offer a number of options.

But then there are the dodgy ones who have something phishy about their numbers.

But I am talking about the chancers who send you an email or approach you on social media stating that they can put your…

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THE END OF THE AFFAIR. (1999) REVIEW BY SANDRA HARRIS. ©


THE END OF THE AFFAIR. (1999) BASED ON THE BOOK BY GRAHAM GREENE.
WRITTEN, DIRECTED AND CO-PRODUCED BY NEIL JORDAN.
STARRING JULIANNE MOORE, RALPH FIENNES, STEPHEN REA, JASON ISAACS, JAMES BOLAM AND IAN HART.
REVIEW BY SANDRA HARRIS. ©

‘Love doesn’t end, just because we don’t see each other.’

I love this film, characterised by gorgeous scenes of endless heavy rainfall in post-war Britain and a rather spiffing shot of Ralph Fiennes bare backside captured splendidly in mid-coitus. Phwoar. The more I see of this guy, the more I fancy him.  

I saw the film on the big screen back in 1999 when it was first released. I’ve had fond memories of it ever since, though it certainly wouldn’t appeal to lovers of action movies as it’s quite slow. That suits me though, being quite a slow-moving person myself, lol.

There’s a bit too much religion in it; that’s possibly the only aspect of the film I didn’t enjoy, but otherwise, it’s as damn near perfect as anything else you’ll see. It’ll appeal to fans of history and thwarted love affairs, heavy rainfall in cinema and Ralph Fiennes’s lovely bare arse doing the old in-out, in-out. What’s not to love?

Ralph- that’s ‘Rafe’ to you!- plays Maurice Bendrix, a moderately successful English novelist in wartime and post-wartime Britain. Well, he’s had one of his books made into a film, so, if that’s moderate success, I’ll have some, please. Beats obscurity and starving in the proverbial garret any day!

Anyway, one rainy night after the war, Maurice bumps into Henry Miles (Stephen Rea), a politician with whose wife, the beautiful Sarah, Maurice had a raging affair during the war.

Seeing the cuckolded Henry again encourages Maurice to re-kindle his acquaintance- and romance- with Sarah, subtly played by Julianne Moore. It’s not difficult to fool poor Henry, Gawd bless his naive, too-trusting buttons.

If ever a man was downbeat, downtrodden and expecting to be made a fool of, it’s poor old Henry. Maurice and Sarah are taking the actual piss by the way in which they practically have sex under Henry’s nose and get away with it. Even in Henry’s own house, on Henry’s own couch, of all places…!

Henry needs to grow a pair, seriously, but I think Henry thinks he’s punching above his weight in marrying Sarah, and is therefore grateful that she consents to stay married to him while still having her little affairs.

Anyway, Maurice has always wondered why Sarah broke off her affair with him during the war years, when London was having the bejeesus bombed out of her by nasty Uncle Adolf and Company; now, in 1946, having inveigled his way back into Sarah and Henry’s lives again quite by chance, he might just finally get to find out.

Three members of the eventual cast of the Harry Potter films are to be found here; Ralph Fiennes as Maurice/Lord Voldemort; Jason Isaacs as the rather surplus to requirements priest/Lucius Malfoy and Ian Hart as the private eye Parkis/Professor Quirrell from HARRY POTTER AND THE PHILOSOPHER’S STONE.

I disliked intensely the attempt to make Julianne Moore’s character Sarah into some kind of a saint at the end. As the friend with whom I recently re-watched the film pronounced uncompromisingly, she wasn’t a saint, she was a shameless and adulterous slag. I don’t mean to slut-shame, by the way, lol. I’m just telling it like it is.

I love this film, a rain-spattered, doomed wartime romance- positively the best kind of doomed romance there is!- and I have particularly fond memories of watching it in the cinema, so it’ll always get a thumbs-up from me. Women will probably relish all the soul-searching and nudie Ralph Fiennes; insensitive males will more than likely just switch over and watch the footy. Their loss, folks…       

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Vampirology. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books:

The sequel, ‘THIRTEEN STOPS LATER,’ is out now from Poolbeg Books: https://www.amazon.com/dp/1781994234

CALLING ALL BOOK REVIEWERS!!! THIRTEEN STOPS LATER NEEDS YOU…!

FOLLOWING ON FROM THE EVENTS OF THIRTEEN STOPS…

Here we are again, and poor Selfie Queen Laura’s love life has dived head-first from the frying pan into the Towering Inferno; will she be able to cope? Just about, until she sees who’s coming out of the Disney Store on Grafton Street one Saturday afternoon . . . ! Someone who shouldn’t has got their beady eye on Fauve’s bouncing bundle of baby joy, and a face from the past returns to upturn Maroon-Vicky’s applecart of Happy Ever After with the dishy Graeme. The frazzled Carl is up to his tonsils in Tara’s Endless Legs and Things, and something very sinister is going on at Becks’s house . . . will her mother’s old summerhouse finally give up its grisly secret? All this and much, much more in THIRTEEN STOPS LATER . . .

Dear Book Reviewers and Bloggers, would you like FREE epubs of THIRTEEN STOPS and THIRTEEN STOPS LATER, the first two books in my Romantic Fiction THIRTEEN STOPS trilogy, in exchange for honest reviews?

If so, please contact Sandra on sandrasandraharris@gmail.com and we can talk more, I’ll be delighted to hear from you!

 

Book Review: The End of the Affair by Graham Greene — For Book Lovers and Random People

Is this meant to be one of the great classics? Really? I am sorry to say it, but The End of the Affair wasn’t for me. Not for me at all. Maurice is looking back on his affair with Sarah, who is married to the faithful and rather naive Henry. The affair has ended, but…

Book Review: The End of the Affair by Graham Greene — For Book Lovers and Random People

METROPOLIS. (1927) REVIEW BY SANDRA HARRIS. ©

METROPOLIS. (1927) DIRECTED BY FRITZ LANG. SCREENPLAY BY FRITZ LANG AND THEA VON HARBOU. MUSIC BY GOTTFRIED HUPPERTZ. STARRING BRIGITTE HELM, GUSTAV FRŐHLICH, ALFRED ABEL AND RUDOLF KLEIN-ROGGE. REVIEW BY SANDRA HARRIS. ©

(PENNED PRE-PANDEMIC…!)

‘The Mediator Between the Head and the Hands Must Be the Heart.’

When you leave the cinema so awe-struck by the film you’ve just seen that you’re unable to even discuss it with the people who accompanied you there, that’s usually an indication that you’ve seen something extraordinarily special.

That’s what happened to me recently when I went to see a one-off special screening of Fritz Lang’s METROPOLIS at the Irish Film Institute here in Dublin. The film was being shown for two reasons.

Firstly, it was April 2016’s choice for the monthly Bigger Picture presentation, which argues for a film’s place within the canon. I think everyone there was of the opinion that this legendary silent film speaks for itself…!

Secondly, METROPOLIS formed part of the FUTURES PAST: HOW CINEMA OF THE PAST HAS IMAGINED OUR FUTURE season being held in the IFI this month. Other films being shown included THE DAY THE EARTH CAUGHT FIRE, STANLEY KUBRICK’S 2001: A SPACE ODYSSEY, SILENT RUNNING, SOYLENT GREEN, GATTACA and GEORGE LUCAS’S THX 1138. There’s enough material in there to satisfy even the hungriest fans of futuristic movies…!

Because of the scientific content of this dystopian film, it was introduced by Lynn Scarff, the Director of the Trinity Science Gallery here in Dublin. Mercifully, Ms. Scarff kept it brief! She acknowledged herself that we were all dying to see the film, a mostly fully restored version of which was being shown to us, complete with the English subtitles and German intertitles, as they’re called.

Do we all know that METROPOLIS is a film about a terrifying futuristic slave nation, in which miserable workers toil endlessly underground manning the machines which keep the city above-ground ticking over for the overlords who live there? Well, it is.

It sounds nightmarish, doesn’t it? It truly is a dystopian nightmare, at least for the poor drones who risk life and limb in the hellish steam pumping out of the monstrous machines around the clock.

Fritz Lang (1890-1976) apparently was inspired to make this epic German expressionist science-fiction movie after observing the skyscrapers of New York. His above-ground city certainly resembles this famous American city in its towering buildings of glass and steel and the endless flow of traffic back and forth across the intricate interlocking network of roads.

The choreography of the workers as they march to and from their horrible duties is superb. One shift clocks off as the next clocks on, with everyone so downtrodden and depressed you can just about tell which shift is which. The music accompanying their defeated trudge is out of this world. When it’s being blasted out at you full-blast from the big screen, it’s positively mind-blowing.

The machines and the gigantic geometric sets are both fantastic and terrifying. How Fritz Lang could make a film of this magnitude way back in 1926 is incredible. He co-wrote it with his wife, Thea Von Harbou, from whom he separated in 1933.

Thea had begun to sympathise with the Nazis in the early 1930’s whereas Lang, Jewish by birth, would have had much to fear from them as the war approached. He left Germany in 1934 and started up a career in Hollywood not long after.

The main character in METROPOLIS is Freder, the son of Joh Fredersen, the wealthy ruler of the above-ground city of light, comfort, leisure and pleasure. One fateful day (as they say!), Freder follows a beautiful young woman called Maria deep down into the underground world of the workers. What he finds there makes him sick to his stomach.

Finding out that his father is forcing thousands of workers to slave away in the bowels of the earth under appalling working conditions does not sit well with the foppish young womaniser.  Before our very eyes, Freder transforms from a slightly ridiculous playboy in splendid knickerbockers into a man of real courage and compassion.

He joins with the sweet and kind-hearted Maria to save the workers from the devious machinations of his father and Rotwang, a crazy inventor. Rotwang has created a Maschinenmensch or robot-human and has given it the physical appearance of Maria, whom the workers trust implicitly.

This Maschinenmensch has been described, incidentally, as ‘a brilliant eroticisation and fetishisation of modern technology.’ I couldn’t have put it better myself. If a robot can be sexy, then this robot-human is as sexy as Marilyn Monroe mashed together with a young Diana Dors, if you can imagine such a magnificently-bosomed, doe-eyed sex-bomb. Or you can use your own ideals of feminine beauty to create an equally apt analogy, if you prefer. But whatever way you slice this tomato, boys, she is hot, hot, hot…!

Joh Fredersen wants the Fake Maria to be used to incite the workers to an ill-advised revolution, which will give him the excuse he needs to use force against them in turn. Can Freder and the Real Maria, with whom he has fallen truly, madly, deeply in love, avert a disaster for the whole city?

Is Freder really the Mediator (der Mittler) for whom the workers have been waiting for so long? Can Maria help him to be the Heart that unites the Head (his father) and the Hands (the workers)? Maybe, but the clock has already started ticking…

The underground caverns are wonderfully scary. Check out the Seven Deadly Sins. They’re positively chilling, and doesn’t Death have a lovely big scythe…? The scenes of luxury and decadence when the Fake Maria is performing her (virtually!) topless dance are so very ‘Twenties, although of course the film is meant to be set somewhere around the year 2027. We laughed our heads off at the gurning, drooling, lustful faces of the watching males. Men sure don’t change much over the centuries, do they…? Snigger snigger.

Speaking of Maria, she’s far and away the most interesting and animated character, especially when she’s being the Evil Maria. Those delightfully hammy expressions she puts on when she’s being Evil! She’s great fun when she’s Evil, but as the Real Maria she displays almost superhuman strength and courage when she’s trying to save the poor little kiddies from the flooding of the underground city.

What a gal! It’s weird to think that she (Brigitte Helm) lived all the way to 1996, especially when she’s the very epitome of that gorgeous ‘Twenties dame with the big eyes and the Cupid’s Bow lips. Fritz Lang himself made it to the mid-‘Seventies. That feels weird too, doesn’t it?

It’s just about conceivable too that some of the children in the film might be alive today, though of course they’d have to be in their nineties and older. Imagine having that on your CV. ‘I was in Fritz Lang’s ‘METROPOLIS…!’ It’s a bit like being able to say that you were in F.W. Murnau’s NOSFERATU. That’s really something to brag about.

I’ll leave you with a thought. It’s what makes this film a horror movie for me, as well as a superb sci-fi epic. There’s a scene early on in it when the autocratic Joh Fredersen dismisses his man, Josaphat, from his service. To be dismissed means to be sent underground forever without hope of reprieve.  

The very thought of this exile-slash-virtual death sentence sends Josaphat reaching for his gun with the intention of blowing his own brains out. If you’ve seen the film, you’ll understand perfectly why he would prefer death to a life below ground-level. And if you haven’t seen the film, you need to rectify such a grievous error post-haste. Whaddya mean, what do I mean? Go and see the film, that’s what I mean…! 

      AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Vampirology. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books:

The sequel, ‘THIRTEEN STOPS LATER,’ is out now from Poolbeg Books:

Staying in with Emily Midorikawa

Linda's Book Bag

I can’t believe how long it is since I last featured Emily Midorikawa here on Linda’s Book Bag. Then I was reviewing her book A Secret Sisterhood: The Hidden Friendships of Austen, Bronte, Eliot and Woolf jointly authored with Emma Sweeney. You’ll find my review here and a super guest post from these two ladies concerning sisterhood in modern times here. Now, it’s the first of two publication days for Emily’s latest book, Out of the Shadows: Six Visionary Victorian Women in Search of a Public Voice and I’m thrilled she has agreed to stay in with me today to tell me all about it.

Staying in with Emily Midorikawa

Welcome back to Linda’s Book Bag, Emily. Thank you for agreeing to stay in with me.

I’m delighted to be here, Linda. Thanks so much for having me.

My pleasure. Tell me, which of your books…

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WHEN A STRANGER CALLS. (2006) REVIEW BY SANDRA HARRIS. ©


WHEN A STRANGER CALLS- THE RE-MAKE. 2006. DIRECTED BY SIMON WEST. STARRING CAMILLA BELLE, TOMMY FLANAGAN, LANCE HENRIKSEN, KATY CASSIDY, DEREK DE LINT AND KATE JENNINGS GRANT.
REVIEW BY SANDRA HARRIS. ©

‘The calls are coming from inside the house…’

The original film of WHEN A STRANGER CALLS (1979), directed by Fred Walton, has one of the best opening sequences of any horror film I’ve ever seen. The first twenty minutes, with the babysitter alone in the house getting increasingly frightening phone calls from an anonymous psychopath, is pure cinematic perfection. The rest of the film is good too, but it’s those first twenty minutes that really grab you by the throat and scare you witless.

I was surprised to find out that such a great film had been re-made. But hey, unnecessary remakes of brilliant films are seemingly where it’s at these days. This time round, Camilla Belle- what a pretty name!- plays Jill Johnson, the high school student who has to babysit for the super-rich doctor and his wife as punishment for running up a massive bill on her cellphone gabbing to her boyfriend.

Jill isn’t too keen on the prospect as all her friends are at the school bonfire party and she would much rather be with them. She’s also fed-up because her so-called boyfriend has recently been caught snogging her bezzie mate, the slutty blonde alcoholic Tiffany. Ouch. Dontcha just hate it when that happens…!

Her dad drives her to the doctor’s fantastic big house, with a lake and tons of polished decking and a little forest and a posh guesthouse and everything. He drops her off without even checking that it’s the right house. He could have been dropping her off at the Manson compound or Ted Bundy’s gaff for all the attention he pays, the self-involved git. It’s not like he was even keen to get to that chamber music concert his wife’s making him go to, haha.

The filthy-rich doctor and his glamorous missus toddle off to their swanky soirée and Jill is left all alone in the huge, remote house in the middle of nowhere. Then the phone starts ringing and the anonymous caller starts asking:
‘Have you checked the children…?’

They’ve done a few things differently this time round. They’ve added a live-in maid, a son who may conceivably return from school at any time to the guesthouse where he lodges, and a completely implausible visit from a schoolfriend, incidentally the one who got off with Jill’s boyfriend.

I mean, this chum (the slutty blonde alcoholic Tiffany) is apparently able to find this out-of-the-way house in the arse-end of nowhere in the dark without any difficulty and get herself inside the doctor’s posh fortress of a house without setting off the alarm. A bit far-fetched, if you ask me. They’ve also gotten the children up and about and running around the place like mad things, something which didn’t happen in the original film.

Mind you, in this re-make the killer isn’t remotely interested in the children, thanks be to God. They’ve changed him into your average sex-killer this time round. Young women are his focus and he’s concentrating his energies on tormenting, terrifying and tracking down the vulnerable Jill with a view to doing (presumably) you-know-what to her when he gets her in his clutches.

God love her, though. She’s a nice enough girl but she’s sooooo dumb. She says every stupid wrong thing imaginable to the anonymous phone-caller.

‘Who are you? How do you know my name? Why are you doing this to me? Are you trying to scare me? Can you see me? How do you know I’m here? Why won’t you leave me alone?’ And of course, the classic ‘victim’ line:
‘Why are you doing this to me…?’ And so on and so forth.

That’s right, love. Keep saying the stuff he wants to hear. Keep reacting to him and feeding his ego and letting him know how scared you are. That way, he’s bound to stop. He’ll probably be all contrite and all like:

‘Oh, I’m sorry, I totally didn’t know I was scaring you! I am sooooo sorry, I’ll just toddle off right away to the nearest cop-shop and turn myself in. Goodnight now and, once again, a thousand apologies for the misunderstanding…!’

That reminds me of that funny post that’s doing the rounds on Facebook at the moment. You hear an intruder in the darkened house at night (or whenever) and you call out:
‘Who’s there? Who is it?’
The joke is, of course, that the killer or intruder is hardly like to call back:
‘Oh hi, it’s only me, I’m just in the kitchen making a sandwich! Would you like me to fix you one…?’

The film-makers basically expanded the first twenty minutes of the original film and made an entire movie out of it, which I suppose is good because after all those were the best twenty minutes of the whole thing. There’s plenty of scope for a good horror flick in a scenario like that. You could come up with probably a million variations on ‘The calls are coming from inside the house’ and some of them could actually be quite effective. Remember the horror movie BLACK CHRISTMAS? Such a good film.

They’ve left out the killer’s back story, though, and the bit where Jill’s a grown woman with kids of her own and a husband. They’ve also left out the sub-plot which sees the detective searching for the killer on the orders of the bereaved Dr. Mandrakis. They’ve literally just concentrated on the babysitter’s night of horror alone in the house with the killer and the sleeping children. Fair enough, I suppose.

The ending is good and the atmosphere throughout is actually pretty spooky, thanks to the amazing house with all its creepy little nooks and crannies, so this is by no means a bad re-make. It’s really more a question, I feel, of whether the re-make was strictly necessary in the first place. Some might say it wasn’t. Others probably feel that anything that’s out there is fair game for a re-make.

And me…? I love ’em both, but the original edges it for me every time because of the era in which it was made. That was a great era for horror. You can make up your own minds, though. There’s a lot to be said for both films. Let me know what you think.

Don’t phone me, though. For the love of God don’t phone me. I’ve been scared off phones for life thanks to these two films. Send me an e-mail instead. Or write me a letter. No harm ever came from reading a letter, did it? Did it…? 

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Vampirology. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books:

The sequel, ‘THIRTEEN STOPS LATER,’ is out now from Poolbeg Books:

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