THE
FINAL PROGRAMME (1973)Director: Robert Fuest
Anchor Bay
THE
FINAL PROGRAMME (1973)In the early 1970s, former set designer and "The Avengers" TV director Robert Fuest put art into the horror film with the exemplary THE ABOMINABLE DR. PHIBES and its sequel. After turning down several lucrative projects in fear of being typecast as a horror director, Fuest set his sights on a film version of Michael Moorcock's popular literary creation Jerry Cornelius, an anti-hero spy for the psychedelic era. Moorcock hated the film, which apparently was far removed from what he had penned, and the director is perfectly content with that since he injected his own unique style to adapt the character for the big screen.
After his father's death, spy and Nobel Prize winning physicist Jerry Cornelius (Jon Finch) goes on a frantic search for a microfilm which contains the "final programme" left by his late dad. His family home has been taken over by his crazed, drug-addicted brother Frank (Derrick O'Connor) who's got a hold of the microfilm. When Jerry tries to confront Frank, his beloved sister (Sarah Douglas of SUPERMAN II fame) is killed in a freak accident and he fails to obtain the valuable formula. He's then joined by the mysterious Miss Brunner (Jenny Runacre), a statuesque bisexual with a nasty habit of consuming her lovers "black widow" style. After a number of hairy adventures, Jerry travels to Lapland where Miss Brunner and a trio of odd scientists (Graham Crowden, George Coulouris, Basil Henson) are planning to launch the final programme which will combine two beings to produce the new messiah, as doomsday is upon them.
With a limited budget and modest special effects, THE FINAL PROGRAMME is a trippy and bizarre sci-fi flick that might be described as a sort of cross between "The Avengers" and A CLOCKWORK ORANGE, but even that description is vague. Not for all tastes, fans of Fuest's unique style will recognize characteristics that were employed in the PHIBES films, such as the befitting Moog score, high level of dark humor, and the prominent use of art decor that reflects the director's set designer background. The film has some striking sets, including a vertical chessboard door (that could be deadly!), multi-colored silk tunnels that resemble a futuristic funhouse visit, and a plastic decor pinball arcade with party-goers moving about in giant balloons.
I relish any opportunity to see Jon Finch (MACBETH, FRENZY) in a leading role and he plays Jerry Cornelius as cold but humorous bloke who indulges himself with alcohol and biscuits (English cookies), chasing villains with his space-age needle gun. With his shaggy hair, black-painted fingernails, and ruffled Victorian shirt, he looks something like a more handsome and bright Austin Powers! Jenny Runacre is also memorable as the elusive spy who provocatively toys with Cornelius. There's a number of cameos from well-known British and Irish character actors (Patrick Magee, Hugh Griffith, Harry Andrews, Ronald Lacey), and Sterling Hayden (who is third billed) does a bit as the gung ho Major Wrongway Lindbergh (remember him in DR. STRANGELOVE?). Swedish Hammer starlet Julie Ege also has a very small walk-on in the arcade scene.
A box office disappointment in England and in the U.S., THE FINAL PROGRAMME was released here theatrically by Roger Corman's New World Pictures as THE LAST DAYS OF MAN ON EARTH. This version was heavily edited and later turned up on video through Embassy. The British version was also on tape through Thorn EMI, but this was very hard to find and quickly went out of print. Anchor Bay's DVD presents the original British cut of the film, and the transfer is immaculate. The source material is in perfect condition with vibrant colors and sharp contrast, and the mono sound is excellent. The disc is letterboxed at 1.77:1 and 16x9 enhanced.
The disc contains a pleasant and revealing audio commentary with director Fuest and star Runacre, moderated by British journalist Jonathan Sothcott. There are some nice recollections about the making of the film, and it only makes you wish MGM had gotten Fuest to do commentaries for the PHIBES films (although he does get to talk a bit about Vincent Price here). Runacre also discusses starring with Peter Cushing in THE CREEPING FLESH and working with other directors like Pasolini and Cassavetes. Also included is a bio on Fuest (written by Sothcott). The American theatrical trailer, a 30 second TV spot, and a 5x7 insert replica of the British poster. (George R. Reis)