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Carry On Christmas (or Carry On Stuffing)

Two unforeseen problems meant that many fans consider this the weakest Christmas special. Firstly, Talbot Rothwell became ill whilst writing the script, and was unable to finish it. Dave Freeman had to be brought in to complete the script, but the two men did not work together. As a result, the script does not flow as easily as the earlier offerings. Secondly, Charles Hawtrey pulled out of the special at short notice. Having taken third billing to Sid James and Terry Scott in the previous two shows, and knowing they would both be absent, Hawtrey demanded top billing. But Carry On producer Peter Rogers refused, giving top billing to Hattie Jacques instead. Hawtrey's role had hastily to be recast, and was split between Norman Rossington and Brian Oulton, both of whom had played cameo roles in several Carry On films. The special featured a collection of historical sketches, loosely linked around an 18th-century banquet.

Carry On Christmas (or Carry On Stuffing)

7.1 1972
Andrés Segovia: The Song of the Guitar

In this stunning film by Christopher Nupen, Segovia returns to the Granada of his youth, site of his personal and musical formation. The world-famous Alhambra—empty of tourists, between midnight and 4 AM—plays host to a deeply moving selection of Segovia’s signature pieces, many in his own arrangements, all imbued with the meditative, profoundly soulful qualities that lifted him to the pinnacle of artistry and helped him redefine what was considered possible for guitarists.

Andrés Segovia: The Song of the Guitar

NR 1977
Meeting the Man: James Baldwin in Paris

In 1970, a British film crew set out to make a straightforward literary portrait of James Baldwin set in Paris, insisting on setting aside his political activism. Baldwin bristled at their questions, and the result is a fascinating, confrontational, often uncomfortable butting of heads between the filmmakers and their subject, in which the author visits the Bastille and other Parisian landmarks and reflects on revolution, colonialism, and what it means to be a Black expatriate in Europe.

Meeting the Man: James Baldwin in Paris

7.0 1971
Never Too Young to Rock

In the late 1970s, rock 'n' roll was banned from television. One young man, our hero, led the battle against the TV ban. He searched the country for the biggest rock groups to perform at a concert in support of his cause. But the enemies of rock 'n' roll had other plans... The zany, madcap Never Too Young To Rock was made at the high point of glam rock in 1975. It offers a unique opportunity to experience the driving, feelgood sounds of the era’s top pop combos in their pomp. From the infectious choruses of Mud’s ‘Tiger Feet’ and ‘The Cat Crept In’, through the catchy doo-wop of The Rubettes, to percussive anthems like The Glitter Band’s ‘Angel Face’, this film provides aural nostalgia at its most intense.

Never Too Young to Rock

5.4 1976
Legend of the Witches

A visual exploration into the origins of witchcraft in the UK and in particular the demystification of symbolism still embedded today within many modern religious artefacts and rituals. X-rated upon its original release, this documentary looks in detail at previously hidden magic rites and rituals. Sharing the secrets of initiation into a coven, divination through animal sacrifice, ritual scrying, the casting of a 'death spell', and the chilling intimacy of a Black Mass.

Legend of the Witches

5.4 1970
Cross

John Du Cane’s rarely shown films are amongst the most pure and radical of their period. In Cross, he uses the drawing of a cross (made without lifting the pencil) as a model for the camera movements and a score for the film. “The films are very physical, they are polyrhythmic and they are patterned in a manner designed to create a very definite way of seeing, of experiencing ... The films are silent to the extent that there is no soundtrack ... I believe films’ light capable of creating sound ... the films are there to be listened to. They are there to be felt." (John Du Cane)

Cross

NR 1974
OPERA MORTEM

OPERA MORTEM is a medium-length film with strong surrealist/dadaist influences where distorted and disturbing images are shown without a real narrative thread which could be a visual dream of death that intersects the story of a suicidal girl and a necrophiliac killer. According to some theological scholars, the film hides a metaphorical evocative code of a satanic ritual. But perhaps David Fleas only followed the manifesto of the Dadaist movement, between anarchist, nihilistic and sarcastic ideas, giving voice to the search for that absolute freedom that art demands.

OPERA MORTEM

2.0 1973