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Football Freaks

Football crazy, football mad. Don’t watch this off-beat jukebox cartoon expecting any conventional soccer action. Equal parts Disney, Dali and Duchamp, this abstract mix of black and white photos and alternative comix style animation is accompanied by a medley of doo-wop classics and documentary soundbites. The film is certainly an extreme departure for those familiar with the more conventional output of the Halas & Batchelor studio, best known for their feature-length version of George Orwell’s Animal Farm (1954). Paul Vester was one of a number of sixties art school graduates that brought a mix of pop art and illustration influences to the company whilst it was undergoing a brief change in its ownership. As a warning, in keeping with its progressive, adult style there is some brief nudity at the end of the film.

Football Freaks

NR 1971
Julie's Christmas Special

Christmas wouldn't be Christmas without some traditional Christmas favourites such as Julie’s Christmas Special. This special aired on ABC-TV on December 14, 1973 and featured special guests Peter Ustinov and Peggy Lee. Most memorably, Andrews and Lee duet on a trippy, campy medley that delightfully careens from hit to hit over the most fun 8 and a half minutes you'll ever have with your pants on. Andrews plays a TV Hostess whose wandered into a cardboard forest and stumbles across Lee as the Sugar Plum Fairy lazing on a divan and ready for some fun - complete with ultra soft-focus and a bedazzled microphone.

Julie's Christmas Special

NR 1973
Buck Rogers in the 25th Century: Planet of the Slave Girls

The majority of Earth's fighter squadron becomes incapacitated after using poisoned food discs. Buck, Wilma and Duke Denton fly to the distant planet of the food's origin, Vistula. They seek to track down a slave trader named Kaleel, who is collaborating with the planet's governor. While on the planet Vistula, they find that Kaleel has been building a fleet of attack ships in secret, and plans to use them against Earth's weakened defense forces. With Earth's defense force now heavily outnumbered 10-to-1, Buck decides that he must destroy the attack fleet and rescue Wilma, who has become trapped in Kaleel's mountain fortress. It originally aired as a 120-minute episode, but has been formatted as two 60-minute episodes in most subsequent re-airings for scheduling reasons. While many guides list it as a two-parter, its initial airing and release on DVD as one double-length episode should make this the official recognition.

Buck Rogers in the 25th Century: Planet of the Slave Girls

NR 1979
Nel silenzio della notte

The plot is told in flashback – so that we start off with a number of gunshots (resulting in two corpses) and a female figure fleeing the scene of the crime; later on, it’s established that another murder had occurred some time before which is directly linked to this incident. Eventually, it transpires that infidelity, blackmail, impersonation, jealousy, frame-up and revenge all play a part in the ‘game’ centering around three different families from the same remote town. As ever with this type of film, then, we get shady characters aplenty, a handful of good-looking women and a dash of violence (though, understandably, little action per se) – thus making for a fairly compelling and entertaining ride; interestingly, one of the deaths is actually left hanging as the cop on the case can only offer suppositions as to the identity of the true killer.

Nel silenzio della notte

8.0 1977
Dead Aim

A traveling gravedigger during an (unspecified) war adopts a orphan he finds alone in the desert. After the war with the orphan grown and business slow, the orphan begins to generate business himself by shooting people. The orphan wants to make one big score by robbing a bank but the gravedigger resists. Their dream is to open a fancy funeral parlor and cemetery. The orphan becomes obsessed with a prostitute he saw who was later abandoned by her outlaw partner after a robbery attempt on a gold wagon goes bad. He eventually leaves the gravedigger to find her

Dead Aim

3.6 1971
Film Print

The film deals with levels of reproduction. The repetitious camera movements over successive photographs are intended to function as distancing devices relatable to mechanical repetitions such as film loops. The 'subject' of the film is the material operation or, rather, it is a film in its own right and an explication of the mechanisms and technique inherent in its making. It is not a documentary of those mechanisms and techniques. Film as anonymous production, wherein (exhaustively) certain techniques are utilized, does combat with film that represents the (absent) subject, the filmmaker (forever repressed ever-present, ever-represented). Film as presentation, not re-presentation.

Film Print

NR 1974
Film Gaudí

When I first arrived in Barcelona in 1974 I decided to make a film about architect Antoni Gaudi's Park Guell. I found a film already conceived in the 1914 design; it was enough to follow the trajectories traced by Gaudi, imagine them as a labyrinth, reproduce the bursting of the mosaics through an analogous fracture of linear temporality. In the editing I tried to avoid showing passers-by. No human figure should get in the way of the appearance of that fantastic architecture. The stop-motion technique applied to the position and parameters of the camera still seems suitable for representing the undulating space of the park.

Film Gaudí

7.5 1975
What'll You Have?

This is an entertaining lesson about the history of British pubs as discovered by time-travelling warriors from the battle of 1066. It then jumps to 1166 and examines ale houses, before moving onto 1366 and looking in on a monastery where they brew their own ales. Our time travelling guides then jump forward to 1539 to the dissolution of the monasteries and then onto 1601 when pubs first have to be licensed, during the Elizabethan era. It continues on through the ages, with funny vignettes right up to the 1970s where pubs have gone back to serving food with their alcohol. It all ends in a sing-a-long, strangely reminiscent of something you would later see during a ‘Horrible Histories’ programme.

What'll You Have?

NR 1977
Our Land Is Our Life

In March, 1974, the Cree of the Mistassini area in northern Québec met to discuss their long-term future. After three hundred years of minimal contact with the white man, they had been offered 'compensation' by the government of Québec for the effects of the James Bay power project. But they decided that nothing, neither jobs nor money, meant more to them than their land. The film presents the issues under these headings: The Conflict, The Hunting Culture, The Schools, The Villages, The Fight for the Land.

Our Land Is Our Life

NR 1974