Interview by Matthew Edwards
Tony Garnett is one of the most respected and celebrated British filmmakers of his generation having worked extensively in British television and through his work with critically acclaimed filmmakers such as Ken Loach, whom the pair worked together on the seminal British dramas Kes (1969) and Cathy Come Home (1966), both of which Garnett produced. Opting to move away from producing, Garnett set his sights on writing and directing his own feature films. After directing the critically acclaimed drama Prostitute (1980), Garnett went on to the write and direct the film Handgun (1983), a powerful cult rape and revenge thriller. Eschewing the exploitation motifs as explored in the genre titles such as Death Wish (1974), Abel Ferrara’s Ms. 45 (1981) and I Spit on Your Grave (1978), favouring an art-house aesthetic and employing a docudrama stylistic approach, Garnett’s film is a measured exploration of the nature of injustice and retribution while a...
Tony Garnett is one of the most respected and celebrated British filmmakers of his generation having worked extensively in British television and through his work with critically acclaimed filmmakers such as Ken Loach, whom the pair worked together on the seminal British dramas Kes (1969) and Cathy Come Home (1966), both of which Garnett produced. Opting to move away from producing, Garnett set his sights on writing and directing his own feature films. After directing the critically acclaimed drama Prostitute (1980), Garnett went on to the write and direct the film Handgun (1983), a powerful cult rape and revenge thriller. Eschewing the exploitation motifs as explored in the genre titles such as Death Wish (1974), Abel Ferrara’s Ms. 45 (1981) and I Spit on Your Grave (1978), favouring an art-house aesthetic and employing a docudrama stylistic approach, Garnett’s film is a measured exploration of the nature of injustice and retribution while a...
- 1/2/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
"It's not uncommon for movies to drop out of circulation and simply disappear, as fans of Deep End will attest," begins Ryan Gilbey in the Guardian. "Barely seen since its release in 1971, the film concerns Mike (played by John Moulder-Brown), a floppy-fringed 15-year-old who becomes dangerously infatuated with Susan (Jane Asher), his co-worker at the public baths. What's unusual about this prolonged absence is that it should have befallen a film so passionately admired. The influential critic Andrew Sarris thought it measured up to the best of Godard, Truffaut and Polanski. The New Yorker's Penelope Gilliatt called it 'a work of peculiar, cock-a-hoop gifts.' If something as venerated as Deep End can sink, what hope for the rest of cinema?"
Some, at least. After all, Jerzy Skolimowski's film, kept off screens for decades due to rights issues, has been restored and will screen tomorrow night at London's BFI Southbank,...
Some, at least. After all, Jerzy Skolimowski's film, kept off screens for decades due to rights issues, has been restored and will screen tomorrow night at London's BFI Southbank,...
- 5/3/2011
- MUBI
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