For reasons beyond fathoming, Robert Fuest’s 1972 Dr Phibes Rises Again was distributed with the title of Frustration, thus severing any connection with the previous entry in this short-lived franchise. But it was not frustration that caused me to watch this movie right after the first one, but plain old insomnia.youRead more
And having spent the cold afternoon reading one of the English Assassin’s latest exploits, I curled up under a thick blanket, with a steaming cup of tea and an aspirin, and re-watched Robert Fuest’s The Final Programme, the 1973 movie loosely based on Michael Moorcock’s novel of the same title.
And this seems to be Fuest’s week here in my house – after the two Dr Phibes (from 1971 and 1972), now The Final Programme (1973) – and it becomes easy to spot the common themes in Fuest’s work: the surreal set design (Fuest was not only the director, but also the screenwriter and the set designer for Programme), the use of music-hall style music on the soundtrack, certain repeated camera angles.
So, what’s this all about?