WOODSTOCK (1970) - they look just like us

WOODSTOCK

(1970, USA)

Epic documentary about a massively positive moment

After hearing from director Michael Wadleigh at the recent Wolfen screening, (my full report here), it seemed foolish not to watch Woodstock, still not knowing quite what to expect. I like a lot of 1960s music, but more Motown and British pop than the rock and country acts at this festival. But it turns out to be much more than just the music...

After years of trawling through record shops, Woodstock album cover had put me off seeing the film. A blurry photo of a crowd standing in a field, not very cinematic and totally misleading. I was honestly expecting grainy, badly-shot 16mm footage, judging from the cover.

My first-time watch was the remastered Director's Cut, expanded from roughly three to four hours, and it flew by. It describes the event from start to finish, as it nearly becomes a human disaster when half a million people turn up, blocking all roads entering the area, and spreading out over the neighbouring fields. Besides finding tons of extra food for everyone, how can the bands get there if all the roads are blocked?

I found this all fascinating because the focus is just as much on the audience, the organisers and the local reaction to the event. Woodstock is about like-minded people getting together and discovering just how many others there are like them. It's about an open air concert besieged by thunderstorms. And how to police a small city that sprang up overnight.

The attitudes of the time are partly conveyed by the performers and organisers interacting with the crowd. No-one's making speeches, but lyrics and throwaway comments illustrate the openness to recreational drugs, a distrust of the police and anger at the Vietnam War and the resulting compulsory draft (every month, over 30,000 young men were called up to serve in the US Army).

The hippie stereotype is constantly corrected. There's longer hair, but very few people have the 'John Lennon' straight hair, which takes a lot of effort. Not many have sunglasses, rose-tinted or otherwise - they were expensive. There's as many clean-shaven guys as those with beards or taches. Like any crowd, it's simply not definable. It's a cross-section of young people of the time, attending for the music and the vibe. There's no uniform. The current shorthand of the hippy 'look' is an amalgam of what the superstars wore, not the crowd: Janis Joplin's little round sunglasses, Jimi Hendrix's waistcoat and bandana, Jerry Garcia's fabulous furry facial hair... Admittedly, this is how the director still dresses.

The activities among the audience include throwing off many of society's restrictions. Spontaneous nudity and skinny-dipping, open air love-making, legal highs, yoga... Notably, amongst the thousands of teenagers and twenty-somethings, very few are overweight and no-one obese. If anything, they're an exceptionally fit-looking crowd compared to nowadays.

I was also expecting a shambolic event, which it might have been by today's standards, partially because the numbers that turned up far exceeded expectations. But while organiser Mike Lang looks like a member of The Warriors, he's quietly keeping the whole show going, riding around the huge site on his motorbike. While unexpectedly popular, it wasn't a spontaneous 'happening' - it was a carefully planned concert. There are medical facilities and portaloos, just like today. Not even a storm blowing through (a dramatic scene) can stop the music for long.

It's an amazing crowd doing amazing things. I found the overwhelming, positive feeling from the event very uplifting. The organiser's attitude to money, declaring it all a free concert, happy that it's such a great happening, oblivious that it'll him lose millions of dollars, is a wonderful thing to see. A seismic shift from the usual view of the world.

Music-wise, I most enjoyed Sly and the Family Stone and the effortless, amazing guitar work of Jimi Hendrix. The energy of the first performer onscreen, Richie Havens, attacking his guitar, further demonstrates how unique many of these musicans still are. I was saddened to learn that he'd only just passed away in April. Havens' recent death contrasts with the performers who famously passed away the year after the concert, notably Janis Joplin and Jimi Hendrix, both at the age of 27.

Between songs, and often seen simultaneously in a split screen, the rest of the event is documented. The helpfulness of local people and organisations in making it all happen. The interviews with local farmers, some for, some against. But a heartening support from some parents, some adults against the Vietnam war - proving that the kids weren't alone in their attitudes to war and peace. Even the local Chief of Police is happy with the good behaviour of such a huge crowd.

I'm sure it's not a totally balanced view, but the film doesn't shirk from the downsides - the dangers of drug use (there was an overdose fatality at the event), a woman freaking out because of the size of the crowd, the logistical problems as the huge event spreads out into neighbouring properties... I'm going to read more about it all in The Road To Woodstock and plough through the special edition extras, intrigued about everything that happened and how it all happened.

Screengrab: organiser Mike Lang interview / chaos on the roads

Defying my expectations, the blu-ray has great image quality. It was actually shot on 16mm, but by a squad of professional cinematographers, and then blown up onto 70mm negative! The amazing editing and splitscreen presentation, spread across the 2.35 frame, makes this a great cinematic experience. Sometimes a central 1.85 image, sometimes two, showing an interviewee on one side and what they're talking about on the other. A triple split with three angles of a performance onstage - most impressively realised when the images overlap and blend. Among the assistant directors and editors are one Martin Scorsese and Thelma Schoonmaker (she later edited Raging Bull, Casino and many more).

My first ever watch was with this four-hour Director's Cut, though I didn't notice any padding, or differences in quality that gave away what was new. The Jefferson Airplane performance is part of the new footage included and it was great to hear singer Grace Slick in action. This Ultimate Collector's Edition blu-ray also includes a second disc with three hours of background documentaries and excised performances.

It's a testament to Michael Wadleigh and his crew, enduring a very difficult shoot (communication with the outside world was impossible for much of the event). The resulting quality is so good that it looks as if it was shot last week. If only it had been. I wish the optimistic, free-thinking, positive action, anti-war vibe was this strong today.


See also, my report on director Michael Wadleigh attending a screening of Wolfen.

From WOODSTOCK to WOLFEN - the director Michael Wadleigh

A recent screening of WOLFEN (1981), introduced by the director

Wolfen is an extraordinary film that shouldn't have been sold as a werewolf whodunnit. Caught inbetween the releases of The Howling and An American Werewolf in London in 1981, I guess it was easier to go with the flow than attempt to ready audiences for a thoughtful, high-quality thriller.

Thirty years ago, it wasn't the horror film that I was expecting, but the performances and locations stuck with me, and warranted many revisits. Now came a chance to see it again on 35mm film. 

The Cigarette Burns event, at North London's Phoenix Cinema on May 3rd, gave us the opportunity with a very special bonus, the director was there to introduce the screening, watch it with us and answer questions afterwards. Though he was polite about sticking to the event's of talking about Wolfen, we were also keen to hear him talk about his previous, more famous document, Woodstock.

Wadleigh looked as if he'd just arrived from the Woodstock festival. But talking about Wolfen, made in the early 80s, convinced us that he'd remained as passionate about this very different project, injecting a consistent worldview into it. But he's also very aware of what audiences expect from a bloody, good thriller! 

Before the film rolled, he gave us some key insights. The decimated neighbourhood of the South Bronx was one of several key New York locations he wanted to show, illustrating the chasm between rich and poor neighbourhoods.

The opening scene of the windmill in Battery Park was much more than just a visual device, but a symbol of the early Dutch settlers, some of the European immigrants that cleared out the area's Native Americans. Some of the pioneers ended up as owners of multinational corporations, their headquarters standing only a few blocks away in Manhattan's financial district. These pertinent locations provide cinematic visuals, layers of subtext and a spectacular document of a recent time that now looks very different.

Wadleigh picked the cast of Wolfen based on their theatre experience, as opposed to any filmography. Luckily, Finney had both. Hardly bankable at the time but he was just starting a short roll in Hollywood.

I'd no idea that they'd filmed real corpses in the autopsy scene. The attendant talking to a corpse really worked there, and that's how he worked. One of several examples of the director using real people as themselves throughout the film. It was also realistic for the bodies to be laid out naked, without sheets over them.

The use of the gliding portable Steadicam camera mount in many scenes, worked exceptionally well. Inventor Garrett Brown was operating it and felt that he'd best achieved a point-of-view shot with his work on the film. It was certainly a fresh and thrilling experience to watch when it was first released, pulling you down to the Wolfen's rapid, roaming, low perspective. Whereas his work in The Shining was a detached 'eye of God', here he made the camera act like a beast, ducking around corners and hiding until it was safe to emerge.

We settled in for the screening, the atmosphere primed by Wadleigh's large dog also settling in the front row. The print was in good shape, which was good for us, but a bad sign that it hadn't been watched very much!

I've already talked about the story of Wolfen here, after watching it on DVD four years ago. But seeing any film in a cinema is an opportunity to concentrate on the story and drink in all the visual detail without any distraction. I finally followed the whole story, rather than waiting for the next piece of action, particularly the arc of the police investigation and its awkward interjection at the climax.

Because a powerful millionaire (and potential presidential candidate) has been murdered, the investigation is of the highest level possible. We see the use of illegal, experimental, scientific monitoring of suspects' interrogations, like invisible lie-detectors. The investigation has access to omnipresent surveillance, and an overriding control of the flow of news to the media, as well as a paranoia about it being a terrorist attack. With references to recent 'explosions' (I'm not sure what incidents they mean), it's all a reminder that terrorist attacks were nothing new thirty years ago.

After the screening, despite being well after 1am, Wadleigh indulged us in a lengthy Q and A session hosted by Josh, Mr Cigarette Burns himself, who'd had a long day and his mind blown by an earlier dinner with Wadleigh and his partner.

I was amazed that his Woodstock-era convictions were as strong as ever. Wadleigh is still figuring out he can save the planet from ecological doom. A positive, can-do, approach to a huge complex problem, fuelled by the foresight of what the endgame could be. As he put it, the planet ending like in a bad disaster movie.

He talked a little about making the documentary movie of Woodstock and how, even in 1969, the organisers had to resist corporate sponsorship wanting to exploit the event. He also applauded the current organisers of Glastonbury from resisting similar temptation. I'd no idea that Wadleigh now lives in England.

He admitted that he'd put many of his ideas into Wolfen, discarding much of Whitley Strieber's book, for which he later personally apologised to the author. But hearing where he's always been coming from made the links between the Woodstock and Wolfen worldviews stronger. Watching Woodstock beforehand helps solve Wolfen's mysteries.

While the high-tech system investigates, Finney's renegade character arrives at the truth. helped by several other individuals with wild ideas and counter-culture attitudes, like those played by Gregory Hines (Running Scared, Eve of Destruction) and Tom Noonan (Manhunter, The Monster Squad).

I was dismayed to hear that the iconic church at the centre of the desolate Bronx landscape was in fact a huge outdoor set, one of the largest ever built at that time. We also heard about the amazing scene where Albert Finney and Edward James Olmos clamber about on top of a Manhattan bridge without any safety wires. He applauded Finney's professionalism at agreeing to do it. Especially tough because it was very windy that day...

We were told how the original soundtrack composer had been replaced by James Horner, who already sounded like he was warming up to scoring Aliens, but that was a great decision that works for the film.

Also, Wolfen was recut for its release, shortened without the director's input. While it had been financed as a major film, even hoped to be an Oscar-winning 'message' project, the studio had lost confidence and releasing it under the werewolf angle. Such as a standard horror movie poster of a wolf with fangs dripping blood...

The DVD release has lost a further scene where Tom Waits sings in a tiny dive bar. Wadleigh said that he was also already friends with Edward James Olmos, who he'd seen perform as lead singer (with his rock band 'Pacific', the biggest thing on the West coast!).

After Wolfen, Wadleigh continued to play the Hollywood game for many years, with three more of his original scripts very nearly getting made. Instead, he's made more documentaries about the Woodstock era.

He was under no illusions that movies could make a huge difference in people's opinions, and regarded them basically as entertainment. Now, in an attempt to save the planet from climatic disaster, he runs lecture tours, talking to and with scientists, the people who have the data about what's happening to the climate, about how they might better persuade us all of the course of action that could save the planet.

Wadleigh's energy and motivation made me miss the optimism and problem-solving practicality of the hippy generation. So few people talk like this, it was inspirational to hear him.

So it was disappointing that more people hadn't come to see this and to meet him. He described Wolfen as a forgotten film, which is tough to hear about something I rate, but it appears he was very right!

Seeing this and The Keep screenings, have reminded me how much more I prefer the experience of film on 35mm, as well as the atmosphere of a midnight movie... at midnight.

Catch the latest screenings of films on film, at Cigarette Burns website, Facebook page or Twitter feed.

Great collection of Wolfen posters and promotional photos, here on The Wrong Side Of The Art.

My previous, illustrated preview of Wolfen is here.

Next up, I watch Woodstock for the first time...

LASERIUM (1977-1990) - Londoners' opportunity to stare at lasers

In the 1970s, what were the alternatives to going to the cinema or the pub? Well, one evening went to the London Planetarium, listened to loud prog rock and watched lasers!

I've been struggling to remember my visit. But at the time I associated lasers with sci-fi weaponry, most famously as a powerful cutting tool, as in Goldfinger's attempt to make James Bond go in separate ways. I'd not been to any rock concerts at this point, so hadn't seen any lasers in action. I went with several friends, half expecting to die by decapitation because I was the tallest.

The Planetarium, recognisable by the green dome, was an adjoining attraction to Madame Tussauds (the building is still there). The comfy, padded chairs inside were arranged in circles, tilted back to face you towards the hemispherical ceiling. With the lights dimmed, a complex projector emulated scientifically-accurate views of star constellations and planets.

But the science stuff was for the daytime, in the evening they showed Laserium instead! We sat in the same seats, but while they cranked up an eclectic playlist of psychedelic rock, the operators shone brightly-coloured holographic laser-shapes over our heads (we might even have had protective glasses on). I believe each show was different, the show wasn't pre-programmed, the operators 'played' the lasers live!

On offer were two different programmes of music, called Laserium and Laserock. This programme that I bought on the day (shown at top), lists the default playlists of music they used.

The thin blue 'membrane' that floats over the egg chamber in Alien (1979), is the vivid memory I have of an actual laser used in a movie, but a couple of years later I remember them being used in nightclubs, shooting into the eyes of the crowd indiscriminately (we still didn't know if that was safe or not). They also cropped up in a heap of early 80s pop videos, like the refilmed version of 'Relax' by Frankie Goes To Hollywood.

Lasers continued to be cool all decade, and the London Laserium attraction lasted until 1990 - no doubt with a few changes to the playlists.

The American Laserium experience - a website for the uses of Laserium technology in the USA.

The Australian Laserium Facebook page - a nostalgic take with more photos.

Here's an amusing radio advert for the London Laserium, circa 1979 when I caught  the show. This depends mainly on users comments making vaguely trippy references and calling it "indescribable"! On the day, I was disappointed that the backing music for the advert (Vangelis - 'Pulstar') wasn't part of the show...

THE UNINVITED (1944) - UK special edition DVD

THE UNINVITED

(1944, USA)

Slick mainstream chiller with a light touch but serious ghosts

The Uninvited is an early example of a movie where haunting is taken seriously and investigated as a phenomenon, setting up many of the key traits of every ghost hunt ever since. The haunting is linked to location, its arrival heralded with a temperature drop and even a scent, it scares animals and possesses the living...

So many silent 'haunted house' movies of the 1920s reveal their spooks as human mischief in the last reel. Decades before before the tradition of Scooby-Doo, last-minute unveilings of wires, mirrors and masks, filmmakers portrayed spiritualists and ghosthunters as frauds and/or for laughs. There were many real-life mediums and spiritualists in work after the massive, incomprehensible losses of life during the first World War, but I'm guessing that as the decade wore on, scepticism replaced the belief that the afterlife was contactable.

Monsters, rather than ghosts, were more popular as supernatural beings at the start of the 1930s. But after the second World War began in 1939, it's no coincidence that ghost movies returned and, this time around, audiences were ready to believe. Again, a yearning that it was possible to contact loved ones who'd passed, and that death wasn't the end, especially for those who'd died young.

I'm thinking of the wartime British ghost stories that are more drama than horror, such as Thunder Rock (1942) and The Halfway House (1944). Then Dead of Night (1945) went for the throat with a clutch of stories so chilling that they still unsettle us today. In those films, the ghosts don't turn out to be faked, but neither are they particularly ethereal. They appear to be physical beings.

Similarly, in the US, there were ghosts in films before The Uninvited, like Topper and Topper Returns. But those ghosts are primarily a comedy device, also portrayed as very physical and non-transparent people. Added to this, the central character is unafraid of the phantoms. These comedies still have their eerie moments (like the murder in Topper Returns). See also Blithe Spirit (1945), the Noel Coward comedy where Rex Harrison is again plagued by his first wife, inadvertently called back during a seance.

Watching The Uninvited again after a long break, I was very taken by its modern approach to portraying ghosts as a series of phenomena, with characters who waste little time in taking it seriously, while being aware of the danger. Of course, this may not be a case of a film being ahead of its time, but rather one that is hugely influential. Guillermo Del Toro even rates it as one of his favourite fright movies.

It's also interesting to see that The Uninvited is very much an 'A' list picture, pitched as a follow-up to Rebecca (1940)! That is, a dark drama with a young woman trapped by the lure of an old house. It even strongly hints that one character is a lesbian, even less subtly than Hitchcock outed Mrs Danvers. For 1944, the backstory is remarkably rich with stuff that couldn't be shown in those censored times.

Oh yes, the story. Ray Milland and Ruth Hussey play a brother and sister who stumble upon a solitary, clifftop house on the Cornish coast of England. Falling in love with it, they buy up and move in, only to discover a series of mysteries. Their pet dog refuses to go upstairs, there's a damp inexplicably cold studio up there and... noises in the night.

Once they realise that the sobbing in the night has no earthly cause, they soberly adjust to the idea that it can only be a ghost. They logically analyse the clues and psychological effects of the house to discover who it might have been. Meanwhile, Ray is getting involved with the young woman (Gail Russell) who grew up in the old house, though her father (Donald Crisp) forbids her to return to it...

Throughout it, I was thinking of Poltergeist, the long winding staircase leading up to trouble, the billowing ghost, and elements of the story, like the young woman caught in a tug of war between this world and the next... Maybe an unfair comparison to tease you with, because The Uninvited is more like a Thin Man mystery, with ghosts instead of criminals. It's not a bonanza of visual effects, but there are more on display than in, say, The Haunting or The Innocents.


Mistakenly, I started off convinced that this was actually a British film. The attention to detail and authentic accents puts the rest of Hollywood history to shame in its depiction of a small village in England. An RAC logo, signs for British beers in the pub windows, country lanes... all very convincing, but made in L.A.!

The cast are likeable, believable, though still playing it all with a dose of comedy and romance for a mainstream audience. Impressively, Ray Milland scored best actor Oscar with his portrayal of an alcoholic hitting rock-bottom, the following year with The Lost Weekend. Here's an actor on the top of his game.

Lovely to see Alan Napier getting a decent role, decades before achieving immortality as (Adam West) Batman's butler on TV.

I first knew of it as one of William K Everson's Classics of the Horror Film, who devoted a chapter to it with Dead of Night. It's about time it hit DVD in the UK. Exposure Cinema's region 2 release includes radio re-enactmants, an original trailer and a thick booklet filled with glossy reproductions of poster art, lobby cards, and essays on the film and its stars.

Moviemail have it on sale, with an informative page and some original publicity photos.

SAMSARA (2009) - worthy of BARAKA and KOYAANISQATSI

SAMSARA

(2012, USA)

Another astonishing 'non-narrative movie' from Ron Fricke

If you've seen Baraka (1992) or Koyaanisqatsi (1983), my job of describing Samsara to you would be much easier.

Most of what I know about these amazing films is from DVD extras and the issues of American Cinematographer that covered them. Officially, Ron Fricke was the cameraman on Koyaanisqatsi which was directed by Godfrey Reggio. In reality it was an experimental collaboration between them. Reggio wanting to communicate just through images and Fricke's eye for the amazing, combined with his innovative use and development of mobile time-lapse cinematography. Koyaanisqatsi shows us the incredible. Together with the hypnotic effects of Philip Glass's soundtrack (which also interacted with the editing and structure of the scenes), it also inspires a contemplation of, well, life on this planet.

Fricke hasn't collaborated with Reggio since, but both continues to direct similar 'non-narrative' movies and short films ever since. Reggio with two more 'Qatsis', Powaqqatsi looking more at the people around the world, Naqoyqatsi at our digital future. Fricke most notably made the epic Baraka - a glorious look at the natural world.

But neither man has since achieved the same hard look at the world as Koyaanisqatsi. Though Samsara comes close by including themes of industry, colossal scales of waste and even disposable people - androids. As well as the astonishing use of Fricke's trademark motion-control timelapse camerawork, but this time for night-time scenes, with stars revolving in the sky and statues lit only by moonlight.

The mix of natural wonder and the never-ending consumption of complex manufactured goods, not to mention animal products, makes for many memorable points without using sledgehammer tactics. The camera stands back, without pointed close-ups, allowing the viewer to pick out their own details. Fricke continues to include his slow-motion 'portraits' of people and couples from around the world. Most touchingly in the section on the aftermath of Hurricane Katrina.

Samsara prompts us to think about many different aspects of the world, I've not mentioned them all, and very different trains of thought to those triggered by advertising, random TV or a YouTube homepage.

It's like drifting around the world in a balloon with a telescope. A mystery tour of amazing places I never knew existed. Like Koyaanisqatsi, the point isn't to constantly pinpoint where and what you're seeing, but to watch what's happening. 

Afterwards, the making-of documentary can tell the story of the five years of collecting amazing footage on huge 65mm cameras, around 25 different countries, in some inaccessible locations and very privileged vantage points. Many directors spend extra effort on their establishing or opening scenes. Samsara feels like a feature compilation made up of those.

This amazing shot of a temple reveals dozens of others in a surreal, smooth, vertical reveal, presumably filmed from a balloon. The number of temples sitting so closely together in a lush green setting honestly looked too good to be true. We needed to double-check our eyes for CG trickery. But that's not how these films are made.

Samsara is further guided by its imagery by being edited without any reference to music. Where Koyaanisqatsi was partly cut to music, Samsara was 'silently edited', each shot allowed to run its course before giving way to the next. Only then, like standard movie-making, was a completed 'cut' given to the musicians to score.

The ethereal music for Samsara is by Michael Stearns (who composed for Fricke's Baraka and Chronos), Lisa Gerrard and Marcello De Francisci. Hearing them talk, I was touched by the fact that I'd first heard Gerrard's singing (wailing?, lamenting?) thirty years ago when she was with ambient gothic group Dead Can Dance. It was like reuniting with an old friend!

Samsara deserves seeing on as big a screen as possible, showing in most theatres on 4k digital. Blu-ray is obviously the next avenue you should explore. The blu-ray image is of course 1080 by 1920, the '8K' referenced on the cover is the resolution width that the film was originally scanned at. 

Also, don't be put off by this being exiled to the documentary section. There's no voice-over, no talking heads. It's in a genre all of its own.

A thorough interview with Ron Fricke and co-writer/producer Mark Magidson about their adventures making Samsara, here on Horror Cult Films.

My look at Koyaanisqatsi is here.

Cinema-going in the 1970s - my decade in the dark

A trip to the cinema doesn't change drastically from decade to decade - pay for a ticket, overpay for junk food and stare at a wall for a few hours. But now it's forty years since my frequent movie-going began, and it was quite a different ritual.

As a child in the 1960s, I was taken to see a movie as an occasional treat, but my appetite became so voracious that, when I was old enough (13 or 14), I went on my own to the local cinemas. A lot. Between 1973 and 1980, I went weekly, sometimes more often. I also went up to London on my own to catch the latest films on even bigger screens.

What's on?

At the time, Britain had to wait several months for the US to finish with their prints of the movie. This often meant that we'd not see major films until the year after they premiered. As well as that delay, London had the opportunity to show new films exclusively for several weeks. With bigger screens and higher prices, it was presumably another chance for word of mouth and press reviews to drum up anticipation around the country. Or it could have been that there weren't enough prints to open everywhere at the same time. The London cinema listings were in national newspapers and the London evening papers.

Then new movies would open in different towns on different weeks, being held over for longer if they did well. I'd check other nearby towns to see if different films were playing. Saturday was when the local paper printed adverts for what was showing in the area, along with screening times. As the cutting above mentions, the programme changed every Sunday. For me it was the first page I'd look at in the the weekend paper. It was also the only way of knowing what films were playing.

At the time, only the biggest movies would get adverts on television. But most new films would have adverts on local radio. Made up of quotes and music from the soundtrack, with a deep, movie guy voice emphasising the taglines from the posters. ("The lucky ones died first!"). I've made a YouTube playlist of the best radio movie ads from the late 70s and early 80s. Many are in stereo - which was still a novelty on radio at the time.

Admission

I've little hard proof, but I think that the price for children was about 50p a ticket, and £1 for the over sixteens. By the end of the decade it was definitely £1.40 for an adult ticket at my local cinema.

Certification

I'm relying on this page on Wikipedia - from 1970 to 1982, cinema certification was U, A, AA and X, which is certainly how I remember defining what I watched. The Rocky Horror Picture Show, Blazing Saddles and Young Frankenstein were 'AA', The Omen and The Exorcist were 'X', and incredibly Jaws was 'A'. Here's what they stood for...

'U' certificate was open to everyone. 

'A' certificate wasn't recommended for under 14s (but we were let in anyway. But before 1970, in many areas, children had to be accompanied by an adult).

'AA' meant that under 14s weren't allowed in (these were roughly the equivalent of American 'R' certificates - violence and swearing but no explicit sex scenes).

'X' certificates were for over 18s only (before 1970. it was only restricted to over-16s), but they were still censored, cut for extreme violence.

As a tall teenager, I played a moneysaving game. I'd pay one week as an adult to see an 'X' film, then be cheeky enough the next week to ask for half-price (because I was under 16). I soon moved up to the right age for 'AA' films, but wasn't supposed to see 'X' certificates until 1979. If I'd agreed to that, I'd have missed the chance to see Carrie, Tower of Evil, Suspiria, Death Race 2000 and many more, so I pretended to be older...

('X' certificate image courtesy of Mounds and Circles blogspot).

Double Features

Throughout the 1970s, local cinemas were still showing double-bills, two full-length films, whether or not they were a suitable pairing.

So, for the price of one ticket, everyone could get three or four-hours of entertainment. Sometimes, I would stay and watch everything through twice - four films in a row. Most of the time, local cinemas didn't have 'separate showings' or booked seats (like they did in the central London cinemas). You turned up when you wanted, you could even go in halfway through. Rather than hang around an hour for the next performance, I made the mistake of going in late, when I saw Jaws for the first time. Then I then saw the first half, and watched it through to the end again.

Many big films kept on making money with rapid re-releases, especially popular series like Planet of the Apes, Pink Panther and James Bond films. They made so much that TV couldn't afford to show recent films until years after they first appeared in cinemas. Double-bill re-releases were a great way of catching up on films that I'd missed and a chance to rewatch favourites. The order I saw them in was of course quite random. For insatnce, I started with the last Planet of the Apes film...

Queues to get in were longer in the evenings, especially at weekends. It was first come, first served. If there weren't enough seats, you'd have to wait till the next showing. Several ushers had to maintain traffic control and scout for empty seats during screenings, pointing torches at the floor to show us the where the steps were. 

In between the support and the main feature, there'd be adverts and trailers. An experience approximated by Tarantino's Grindhouse (2007). The support might be a re-run that was a year or two old, usually with the same certificate. Or it might have been specifically made as a second feature! We'd also see American TV movies, that hadn't been shown in Britain yet - like The Savage Bees. In terms of production values, there was only a thin blurry line between low-budget feature films and TV movies.

Through the decade, the double-bills became rarer - more and more blockbuster movies like Jaws and The Towering Inferno didn't need support films, but the tradition of having a 'supporting feature' remained. Specially-made short films and documentaries, little more than 25 minutes of filler, like travelogues, were shown instead. Few were memorable, except Bob Godfrey's Great (1975, a bawdy, musical, animated story of Isambard Brunel) and Leonard Rossiter as Le Petomagne (1979, based on the true story of a French stage entertainer who could fart musically). With horror films, there was a brief spate of weird, adult short films. I remember a Basil Brush presenter turning up half-naked in one about a sacrifice to Satan! 

Intermissions

Between the support and the main film, there'd be diabolical local adverts, then slicker adverts (usually for alcohol or cigarettes - the Gordon's Gin music became a hit in its own right), then trailers for coming attractions.

Incidentally, smoking was still allowed in most cinemas, ashtrays built into the arms of every seat (but nowhere to put your drinks or popcorn). Smokers were eventually pushed to one side of the cinema (the right). But if the seats on the left filled up, you had to sit with the smokers!

Long 'event' movies, like Ben-Hur, might not get a supporting feature. Though even 2001 - A Space Odyssey (on re-release) started off with a Tom And Jerry cartoon (they were in space, of course). With these epic running times, there'd be a break halfway through the film. I still remember exactly where they stopped Chitty Chitty Bang Bang and The Towering Inferno, both with cliffhangers and groans from the audience.

Waiting for the film to start, you might get music played, but were often sitting in silence listening to the projectionist rewinding the reels for the next performance. You could take the long walk down to the front and get a warm Kia-ora from the usher or a melty ice cream, or hike back down to the foyer for more Revels, as long as you still had your torn ticket stub to get back in.

If you were very lucky, there would be some sort of light display to keep your brain alive. The multi-coloured oil wheel projected over the curtains at Wimbledon Odeon once kept me amused for over half an hour. 

The wait between films could get ridiculous. Presumably. the manager had to stick to the published times placed in the local newspapers, before they actually knew the exact running times. 

Magazines sold at the ticket booth passed the time, though there was barely enough light to read them. There was Film Review or Photoplay magazine, and sometimes a special brochure for the main film. Japan still makes these, with high quality colour photos and behind the scenes info, they're very collectable. 

By the end of the decade, brochures at local cinemas gave way to tie-in magazines and foldout poster mags, which you could buy at any newsagent. Star Wars was one of the first films to have such a tie-in (but you could still get the brochures in the big London cinemas).

Projection

Everything (except in a few of the biggest cinemas) was shown on 35mm film reels, in either 1.85 or 2.35 aspect ratios. 

As I remember, the changeover between film reels was every twenty minutes. The print would visibly get more scratchy, before the circular marks scratched into the top right corner of the picture appeared (once as a warning, the second as a cue) and the sound might glitch out at the moment of changeover. Distributors would try and divide up reels so that there was no music and a gap between dialogue at the end of each reel. There might be a momentary blackout if the projectionist was late switching over. 

Censor cuts would have been made, physically, to each print. Because the projector bulb shone behind a different frame to where the sound pick-up was. If a section of film was cut out, the sound that was removed would differ by half a second. You could often tell where the censor cuts were because of the mismatched audio, besides a blatant jump in continuity.

Odeon Leicester Square, May 1980

Up in town

To see a major new film without having to wait, I'd go up to London, where some cinemas even had multichannel or stereo audio, 70mm prints or even floor-shaking Sensurround. A chance to see them as soon as they'd opened in this country, Star Wars, Close Encounters of the Third Kind, Superman - the Movie, Alien, Battlestar Galactica, The Black Hole, Apocalypse Now in six channel stereo... I have the brochures to prove it.

Soon, I'll be looking back in detail at these, my local cinemas at this time, and what's happened to them since. Also, how you can travel back in time to see how your favourite cinemas looked...