Welcome to Moorcock's Miscellany

Dear reader,

Many people have given their valuable time to create a website for the pleasure of posing questions to Michael Moorcock, meeting people from around the world, and mining the site for information. Please follow one of the links above to learn more about the site.

Thank you,
Reinart der Fuchs
See more
See less

The Final Programme

  • Filter
  • Time
  • Show
Clear All
new posts

  • The Final Programme

    Was able to get of a copy of this on DVD, and the effects of the time reminded me of the improvisation work done by the people who made Dr Who. Haven't read the book, but the film didn't translate well and came across as rather corny. I salute the boldness and the vision that the film tried to portray but again, it didn't translate well onto the screen. It is my understanding that MM wasn't to happy with the script for this. Has anyone else seen this film? And is the book a whole lot better? I hope so.

  • #2
    The book is GREAT!!!
    "A man is no man who cannot have a fried mackerel when he has set his mind on it; and more especially when he has money in his pocket to pay for it." - E.A. Poe's NICHOLAS DUNKS; OR, FRIED MACKEREL FOR DINNER


    • #3
      I just ordered the dvd and I am still looking forward to it even though it is not like the book. :D I have been wanting to get it for a long time.

      "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
      - Michael Moorcock


      • #4
        I just watched the movie version of The Final Programme. I enjoyed it. I thought it was pretty good for 1973. The needle gun was pretty cool. I read the book and know the movie is alot different, but some things were in there from the book. It was just cool seeing a representation of Jerry Cornelius. :D

        The woman who played Miss Brunner made me think of Uma Thurman playing Mrs. Peel in The Avengers remake.

        Maybe MM will make a new version some day?

        "With a deep, not-unhappy sigh, Elric prepared to do battle with an army." (Red Pearls)
        - Michael Moorcock


        • #5
          From the pop-nostalgia TV site, TV Cream: Films A to Z. A rather good little review of the movie in question, as seen on TV.

          Final Programme, The


          Maverick pop-art fantasy director Robert Fuest (The Avengers, The Abominable Dr Phibes) is let loose on Michael Moorcock’s time-tripping novel of swinging psychosexual splother, producing a muddled tale of a race to stop the blueprints for a genetically modified Superman falling into the wrong hands as the missiles drop. Jon ‘Counterstrike‘ Finch cuts a dashing cross between Jon Pertwee and Tony Bastable as unstable, black nail varnish-wearing, chocolate digestive-munching fop Jerry Cornelius, and Jenny ‘Jubilee‘ Runacre is fun as the catsuit-clad, predatory Miss Brunner, and there are top guest turns from Hugh Griffiths, Sterling Hayden, Patrick Magee, Harry Andrews and Graham Crowden. But really, as with The Avengers, forget trying to make sense of any fragments of so called “plot” that might happen to be floating about, this is all about the set-pieces.

          And what set-pieces. Heaps of wrecked cars along the Thames? Check. Multicoloured poison gas clouds? Check. Underground supercomputer powered by rows of scientists’ disembodied brains? Check. Hypodermic-firing drug pistols? Check. Chic restaurant with in-house wrestling tournaments, with booze served up in little Freeze-pop packets from a tray around Sandra Dickinson’s neck? Check. Picnics with lab-coated scientists in miniature geodesic domes? Check. Fiendishly cryptic Adventure Game-style puzzles involving doors with gigantic vertical chess sets as locks? Check. Giant pinball game featuring women rolling about in those inflatable spheres James Burke used to try out on Tomorrow’s World? Check. Solarised film to indicate the apocalypse? Check. Actually quite good zero-budget visual effects done with a bit of corrugated glass by an optical lab that, when asked to repeat the trick for something else, admitted they’d forgotten how they did it? Check. Hermaphrodite ubermensch revealed as a manicured monkey doing a crap Humphrey Bogart impression? Er, check. The soundtrack? Why, jazz-Moog, of course!

          So, we’re not in for a round of incisive character-led examination of the human condition or taut, finely crafted storytelling. So what’s the big deal? Well, we’d argue that a great big wobbly dollop of blancmange is great once in a while. The fact that your average multiplex these days shows nothing but blancmange is part of the problem – ‘once in a while’ is the key. Besides (and this is a matter of taste), there’s a big difference between some off-the shelf readymix packet blancmange and the sort your granny whips up out of various Macmillan-era odds and ends she’s found at the back of the pantry. Both will lay you up in bed for a fortnight, but only the latter lends itself to a good anecdote rather than a sniffy letter to Watchdog. (The fact we’re reduced to making such absurdly overstretched food metaphors is somehow appropriate to this mad film.)

          Any hardcore Moorcock fans watching this film will become crosser and crosser throughout, but while it does break the cardinal rule of this sort of thing by playing up its inherent daftness at times, it’s splendid entertainment to watch this misguided film shake itself spectacularly to bits, like one of those Heath Robinson prototype flying machines. Enjoy the journey – just don’t expect to find yourself anywhere convenient when you get off.

          TV CREAM SAYS:

          Tags: 1971, A gloopy treble dose of Calpol for the visual cortex, Graham Crowden, Harry Andrews, Hugh Griffiths, Jenny Runacre, Jon Finch, Patrick Magee, Sandra Dickinson, Sterling Hayden