FOLLOW THE MONEY, various directors/Arrow Nordic Noir and Beyond As we see more and more Nordic Noir shows, we are starting to identify a variety of familiar fingerprints (Thicker than Water, for instance, plays almost as an actionable remake of The Legacy — with a divisive legacy from a dead woman pulling a family of siblings apart, with one son in hock to brutal creditors — the same plot, in fact). However, Follow The Money is something different with its financial finaglings and its lively mix of betrayal and moral choices (notably troublesome for the compromised heroine). The reliable Nikola Lie Klas is a particular plus of the series, suitably Machiavellian.

ALL NIGHT LONG, Basil Dearden, director/Network/The British Film Collection Patrick McGoohan is best remembered for his to iconic television series, Danger Man and the baffling futuristic show, which grew out of the latter, The Prisoner. The actors immensely charismatic presence combined with this difficult withholding personality (this Catholicism meant that the poor child any love scenes in his films was occasionally showcased to great effect in movies are used. This element his personality such as All Night Long. PATRICK McGoohan (The Prisoner) and Keith Michell (The Pirates of Penance) star in this powerful psychological drama which deftly re-interprets Shakespeare’s Othello via the beating, syncopated heart of East London’s early-sixties jazz scene. The film features outstanding performances from jazz legends Charlie Mingus, Dave Brubeck, Johnny Dankworth and Tubby Hayes. It is presented here in a brand-new High Definition transfer from original film elements in its original, as-exhibited aspect ratio. Wealthy music promoter Rod Hamilton throws an anniversary party for famous jazzman Aurelius Rex and his wife and musical partner Delia. Music and goodwill flow freely until ambitious rival Johnny Cousin – intent on poaching Delia to join his own band – plans to destroy the couple’s relationship over the course of a single night…

THE FACE OF EVE, director/Network is part of Network’s ‘The British Film’ collection. From low-budget producer Harry Alan Towers – a man who always seemed able to persuade Christopher Lee to appear in his maladroit films — is a misfiring but interesting curio. Lee, Robert Walker and Herbert Lom in this tale of lost treasure set deep in the Amazon jungle, but the undeniable star of The Face of Eve is Celeste Yarnall – later famous as the star of the cult horror piece The Velvet Vampire. Mike Yates, a pilot and adventurer searching for lost Inca treasure, is saved from savages by a beautiful white jungle goddess who wields a strange power over her subjects. Soon both Yates and the mysterious Eve are involved in a dangerous race deep into the jungle to locate the hidden treasure.

SUTURE, David Siegel and Scott McGehee, directors/Arrow The fact that the film was inspired by John Frankenheimer’s masterpieces The Manchurian Candidate and Seconds does not mean that it can match the level of achievement of those films, but, Suture, with its ambition not quite matching its inspiration, is certainly well worth viewers’ time. Inspired by the paranoid visions of Frankenheimer’s films, the desert noir of Detour and the black and white widescreen beauty of Hiroshi Teshigahara’s The Face of Another and Woman of the Dunes, Suture is one of great feature debuts – by writer-directors David Siegel and Scott McGehee. The wealthy and self-assured Vincent (Michael Harris) meets his blue collar half-brother Clay (Dennis Haysbert) at their father’s funeral and is struck by their similarity. He decides to murder Clay and take his identity, only Clay survives the assassination attempt with no memory and is mistaken for Vincent. The fact that Harris is white and Haysbert is black only complicates a film that probes into the nature of identity. After viewing an early rough cut, Steven Soderbergh came on board as executive producer and enthusiastic patron. Suture went on to become a hit on the festival circuit, including Sundance where it deservedly won the award for Best Cinematography.

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