The Final Programme (1973) - January 7, 2020

[Splatterpunk]

Right off the bat, I need to admit that I’ve never read any of beloved British fantasy and sci fi author Michael Moorcock’s books. However, I’m aware of his outsize influence on some of my favorite writers, including Alan Moore. Yesterday evening, I checked out the recent Shout Factory release of writer/director Robert Fuest’s THE FINAL PROGRAMME from 1973 (distributed by Roger Corman in the US as THE LAST DAYS OF MAN ON EARTH), which is the only Moorcock work to be adapted for film. Bizarre and psychedelic, it’s a captivating flick despite the narrative being borderline incoherent.

Dashing Jon Finch is our lead as the wealthy intellectual Jerry Cornelius, a sort of dandy philosopher and scientist. After the death of his famous father, Jerry is approached by a group of scientists looking for a microfilm that details how to engineer a superhuman messiah. Dr Smiles (Graham Crowden), Dr Powys (George Coulouris), and Dr Lucas (Basil Henson) are led by the assertive and mysterious Miss Brunner (Jenny Runacre), a woman with seemingly voracious sexual appetites. To obtain the microfilm, Jerry will have to confront his deranged brother, Frank (Derrick O’Connor), at their family’s ancestral home. The unhinged Frank is also holding their sister, Catherine (Sarah Douglas), captive. It’s implied that Jerry’s relationship with Catherine is incestuous. Making matters even more difficult is the fact that the expansive house features numerous strange and intricate deathtraps. Also, it should be noted that we can glean from various background details and throwaway pieces of dialog that the story takes place in the aftermath of some sort of global conflict. Other notable players include Sterling Hayden as an eccentric military man, Harry Andrews as an eccentric assassin, Hugh Griffith as an eccentric mystic/physicist, and Patrick Magee as a relatively normal party that’s also interested in the microfilm.

Obviously, I can’t speak to the script’s faithfulness to Moorcock’s original story, but I will say it’s bursting with dry deadpan humor and offbeat character moments. It’s not interested in explaining much or in implementing a traditional structure. It encourages inference, but Fuest doesn’t seem to care if you’re keeping up or not. The opening credits list him as writer and director, but also as designer. An atypical credit, but this is important in understanding the film’s intentions. I would never say that story is unimportant here, but it feels like just another aspect of the overall experience. Costumes are ostentatious, with Jerry sporting duds out of a swinging fashion magazine. Imagery is often surreal, with darkly humorous and absurd visual jokes. Trippy special effects further emphasize the film’s quirky artistic intentions.

It’s not all wry humor and loud artifice, though. There’s some cool action too, like the needlegun fight sequence. We’re also treated to slick cars, a helicopter scene, and a hot air balloon ride. Norman Warwick’s photography captures both the high-minded production design and interesting locations with equal flair. The funeral pyre sequence and cliffside ruins sequence are neat and provide flavor outside the film’s prominently fabricated look. Though Moorcock wanted Hawkwind to provide the score, Fuest opted for a jazzy suite provided by Paul Beaver and Bernard Krause’s. Its bounciness works well with the ironic tone.

While world-building is definitely at the forefront of the piece, the performances are still very important. Finch maintains our attention and looks supremely comfortable amongst the weird visuals and unusual story beats. The same goes for Runacre, though she brings a completely different energy. I also loved Hayden’s harried but good-natured turn.

Robert Fuest’s THE FINAL PROGRAMME is a pretty unique piece of fantasy sci fi. Decidedly British, it’s ironic without being cynical. I can’t say that I quite understood everything that happened, but I was completely engrossed by the film. The final moments might be a make a break aspect for some folks, but I think it’s completely inline with the film’s odd sensibilities. It’s definitely not for everyone, but I think this is a film that’s rife for rediscovery by cult enthusiasts. Recommended for fans of A CLOCKWORK ORANGE, FEAR AND LOATHING IN LAS VEGAS, and THE LONG GOODBYE.