Spoiler warning – minor spoilers for Scream

Baby Driver

The opening scene of Baby Driver has been decades in the making, with Edgar Wright using the idea of a waiting getaway driver listening to music in a music video for Mint Royale in 2003. In the film Baby is waiting while his criminal comrades rob a bank, whilst waiting he listens to Bellbottoms by the Jon Spencer Blues explosion, dancing as best a person can while sitting in a car. As soon as his accomplices get in the car Baby is away and what follows is, in my opinion, the greatest car chase ever filmed. It contains jaw-dropping scenes of the car dodging all manner of traps and pursuers as well as edited to match up with the song that is still playing.

Death of Stalin

One of the best comedies of recent years is Armando Ianucci’s Death of Stalin. Not immediately a film that suggests hilarity as it deals with the death of one of the most despicable humans who ever lived but it is is very, very funny. The opening scene is in a concert hall where a performance of classical music is being broadcast live on the radio. In the studio a call comes through from telling the director to call this number back to speak to Stalin himself. Stalin wants a recording of the performance but it was not recorded. The unbelievable panic that takes control of everyone is terrifying as they are all convinced they’re going to die. It doesn’t matter that’s a fairly trivial request, it doesn’t matter that really Stalin should have asked for a recording before the performance. The mix of sheer terror and absolute absurdity is the hallmark of the film.

A Clockwork Orange

There are a number of Kubrick films that were options, the creepy flying shot from The Shining following the winding road, the introduction to the insane drill sergeant in Full Metal Jacket but I chose A Clockwork Orange. Even the title cards are involved in this – alternating between bright red and bright blue completely filling the screen, and then the close up of Alex’s face, who, costume and makeup aside, is terrifying as he stares down the camera. The camera pulls back revealing the bizarre milk bar and with Alex quickly starting a voiceover using the “nadsat” slang language which further makes the characters something alien. Like many costumes in films the droogs could potentially look silly – they do not, they are exceptionally sinister-looking.

Scream

I’m not actually a big fan of the Scream franchise but this opening scene is undeniably great and sets up the rest of the film perfectly. The first great aspect to it is that while Drew Barrymore is in it, she is also killed in this first scene, and she was the most famous person in the entire film (with the possible exception of the legendary Henry Winkler as the principal who also dies) so after that it felt like anyone and everyone could die. The scene also contains the entire premise of the movie – a serial killer with a love of and encyclopedic knowledge of horror films and will use these tropes to kill their victims. Also as a pedantic film fan I appreciate they correct Barrymore’s character when she got film trivia wrong.

The Dark Knight Rises

The Dark Knight has a great opening scene – the Joker robbing a bank while his accomplices kill each other, but The Dark Knight Rises has a great one too that is talked about a lot less. On an isolated airstrip somewhere in Europe the CIA take into their protection a renowned scientist with some dangerous knowledge and also take into their custody a number of hooded individuals – soldiers for the “masked man”. Once in the air it is revealed one of them is the masked man himself, Bane. It’s hard to describe what happens next but Bane basically uses a bigger plane to “steal” the plane they’re on, all to kidnap the scientist with dangerous knowledge. Bane’s ferocity, strength and devotion to his cause is evident from the very beginning and it is clear this is a very bad guy. Also I’ve never seen someone steal a plane in a film before.

Tarantino

When I was compiling a long list of potential films there was a lot of Tarantino – the argument about tipping in Reservoir Dogs, the diner conversation about robbery in Pulp Fiction, the introduction of the wedding massacre in Kill Bill, the unforgettable entrances of Christoph Waltz in Inglourious Basterds and Django Unchained. They all feature Tarantino’s trademark witty dialogue and usually mixed with violence (of the scenes I’ve mentioned only Reservoir Dogs contains no violence and it certainly makes up for that later).

Also Read: What Makes A Tarantino Film?

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Who Is Malcolm McDowell?

Born Malcolm John Taylor in Leeds, England in 1943, McDowell caught the acting bug in his school years. Later he joined a touring repertory theatre company before moving to London. There he landed work with the Royal Shakespeare Company, several television bit parts, and was meant to make his big-screen debut in Ken Loach’s Poor Cow but his scenes were deleted. Regardless, he received an impressive debut as the lead in Lindsay Anderson’s If…. a year later. Across his career, he has worked with many notable creatives in many different genres; over film, TV, videogames and theatre.

Why Is He Underrated?

McDowell is underrated because despite having a career spanning over five decades, with a vast catalogue of credits, most people only mention A Clockwork Orange when talking about him. And McDowell deserves appreciation for the great work he’s done outside of Kubrick’s masterpiece.

McDowell belongs to the old crowd of British screen actors like Christopher Lee and Peter Cushing, who kept working even if the projects weren’t the best quality. And, like Cushing and Lee, McDowell never sleepwalks through a performance. Often being the lone bright spot in many films he appears in.

McDowell said he doesn’t think of himself as an artist, he just loves acting. In the age of prima donna actors, actors concerned about image over craft and method acting to a fault, it’s refreshing to see someone simply acting because he likes it. And the fact that someone so talented is willing to do so many different types of projects is honestly exciting. You never know what film you’ll get with McDowell, but you know he’ll be great.

Five Great Malcolm McDowell Performances

1. Alex DeLarge – A Clockwork Orange

The story of a psychotic teenage thug who loses his free will after a government experiment, A Clockwork Orange works so well because of McDowell’s performance. Not only does he make the Burgessian dialogue sound natural, but McDowell allows us to alternately feel frightened of and sympathetic for a truly despicable character, thanks to his charm and superb physical performance. There’s a reason this is considered McDowell’s best role.

2. Mick Travis – If…, O Lucky Man! and Britannia Hospital:

The only constant in Lindsay Anderson’s thematic trilogy was everyman Mick Travis. Travis helped audiences navigate Anderson’s surreal worlds. Whether he was a revolutionary, being chewed up, and spat out by arms dealers only to become a film star or being transformed into a Frankenstein’s monster, McDowell made you feel for him every step of the way.

3. Caligula – Caligula

As Caligula, McDowell looks right at home, committing horrendous acts and losing himself in hedonistic abandon with childlike glee. But beneath the tyranny is an affection for those close to him that gives him a layer of depth rather than simply being a madman. McDowell is brilliant at giving even his most monstrous characters in humanity.

4. Dr Samuel Loomis – Rob Zombie’s Halloween Duology:

Love or hate Rob Zombie’s Halloween films, McDowell is the perfect replacement for Donald Pleasence as Dr. Loomis. Through both films, McDowell makes the role his own. Bringing class and gravitas while offering a more emotional and flawed interpretation of the character. Even if the scripts don’t work, McDowell gives the role dignity and dimension.

5. Thomas Pembridge – Mozart in the Jungle

In this series, McDowell plays the New York Symphony Orchestra’s stuffy ex-conductor. Initially antagonistic towards those around him, we soon realise his attitude comes from not accomplishing everything he wanted to in the spotlight. So, he tries to amend himself. McDowell’s perfect comedic timing, curmudgeonly attitude, and ability to weave between comedic and heartfelt make him an enjoyable presence in the Jungle.

Even this barely scratches the surface of McDowell’s great roles. But hopefully, this article has encouraged you to check out and appreciate more of McDowell’s work. Be sure to tell me your favourite Malcolm McDowell roles below.

Also Read: The Anatomy of a Christopher Nolan Film

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The Oxford Dictionary definition of a “cult classic” is; a film which has “enduring appeal to a relatively small audience” and exists outside of “mainstream” cinema. Cult films consist of an eclectic collection; there is no set genre which these wonders stem from.

During Hollywood’s formative years, there was not a great deal of opportunity for films to reach cult status with the quick turnover of productions. However, this began to change with the introduction of Midnight Movie screenings. These often featured films which were considered too shocking for mainstream audiences. “Freaks”, the 1932 MGM production, was one such controversial feature of the midnight screening.

However, the status of the cult film gained momentum with the development of distribution. Whereas before, low-budget, non-confirmative films had to rely on midnight screenings to reach viewers, home cinema allowed potential cult movies to reach a wider target audience. Television channels began to provide their own form of the “midnight movie”, showing films that didn’t cost a lot. (This is actually where I remember catching my first glimpse of The Rocky Horror Picture Show – a cult classic which is firmly cemented as one of my favourites!)

This access to films only increased with the creation of VHS. Now fans could pass on the treasures they had discovered to other, like-minded potential fans. If a movie had been banned then this only added fuel to the cult film fire. Stanley Kubrick’s adaptation of A Clockwork Orange gained such notoriety when it was withdrawn, meaning that any rare copies of the film added a particular magic for the cult following it amassed.

Much like A Clockwork Orange, the success of the cult classic seems to lie in it having some sort of controversy attached to it. As previously mentioned, these films often appeal to a small, niche audience and tend to challenge the typical conventions instilled by Hollywood. Many productions have reached the dizzying heights of cult status due to their focus on extreme, and often taboo, subject matters. The aforementioned Clockwork Orange had such graphic depictions of violent acts that it was withdrawn in the UK for  27 years after comparisons were made in high profile crimes.

Another way that a film can become a cult classic is by being so bad that it’s good. Tommy Wiseau’s 2003 film The Room is one such offering- it has been described by critics as one of the worst films ever created.” As a result, it has gained a massive cult following. So much so, that another film was created just last year, The Disaster Artist, to celebrate just how bad it is!

But what of those hugely successful films which have followings around the world? The Star Wars and Harry Potter franchises have gargantuan fan bases and have stemmed a multitude of sub-cultures such as festivals, conventions and even theme parks. Do these productions warrant the title of cult classic? Or do they fall short somehow? And if so, why?

Perhaps it is because these films have become so commercialised that they cannot be given the title of cult classics. Those films deserving of the title do so because of the microcosm that is their fan base; that “have you heard of this film?” moment. Whether you have watched the big blockbusters or not, you’ve definitely heard of them which is not always the case with those movies that are deemed cult films.

Some critics argue that the term has lost its value with it now being attached to any production which seems to break away from convention or challenge the mainstream. But the real cult classics will stand the test of time; that’s what makes them a classic after all.

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Big Picture Film Club took a trip to one of the most talked about art exhibitions this summer: Daydreaming With Stanley Kubrick, held at London’s Somerset House. The exhibition featured a variety of paintings, installations, videos, and sculptures inspired by the late cinematic genius Stanley Kubrick. Much like Quentin Tarantino, George Lucas & Ridley Scott after him, Stanley Kubrick’s impressive body of work has given him a cult-like following, particularly after his death in 1999.

Curator, James Lavelle, has done an excellent job in putting together this mix-media exhibition. The 45 works on display flow effortlessly together and make for a seamless and captivating experience. While there were many great pieces of work on display, in no particular order here are some of our favourites from the exhibition:

1) Life, by Dexter Navy

This piece was distinct, in that it references current social commentary of civil unrest, as opposed to directly taking from Kubrick’s films. However, the intricate use of colour in this piece was inspired by the work of Kubrick.

2) Various Works, by Philip Castle

Airbrush artist, Castle, who designed the original poster’s for Kubrick’s A Clockwork Orange & Full Metal Jacket, gave the iconic posters a contemporary redesign, and showcasing a never used alternative design for Full Metal Jacket.

3) Camera A, Scene 136, Take 1, by Thomas Bangalter

Bangalter, one half of electronic duo Daft Punk, exemplifies what Kubric’s work is about with his simple, yet powerful video piece. The slow-mo clip features a person walking calmly through a pitch darkness engulfed in flames – the fire providing the only source of light, illuminating the ground below.

4) In Consolus – Full of Hope and Full of Fear, by James Lavelle & John Isaacs ft Azzi Glasser

Immediately the senses are treated to an overload of sight, sound and smell. The clearly recognisable, Lolita inspired giant teddy bears gives a sense of fun and playfulness whilst the darkness of the room and the juxtaposed neon love sign hints at sinister undertones. Empty pantry boxes reference The Shining, 2001: A Space Odyssey inspired scent from perfume designer Glasser fills the room, whilst the soundtrack comes courtesy of: Detroit techno pioneer Carl Craig, Italian dance ensemble Planet Funk – Domenico “GG” Canu and Marco Barani, spoken word artist and designer Michele Lamy, and UNKLE collaborator Elliott Power.

6) Das Problem der Befahrung des Weltraums, by Norbet Shoerner

Norbet created a 360° virtual reality recreation of the Discovery One space. Breath taking in its redesign, fans of 2001: A Space Odyssey will feel as if they have been dropped right into the movie. Definitely one of the key highlights of the exhibition!

7) History Painting, by Marc Quinn

Quinn draws from media reportage of social unrest, amplifying the sense of violence and unease with the contrasting use of colour.

8) The Shining Carpet, by Adam Broomberg and Oliver Chanarin

Immediately recognisable, no Kubrick exhibition would be complete without the iconic print carpet from the Overlook Hotel. The print continues to inspire artists of all mediums.

9) Clockwork Britain, by Paul Insect

Famous for his street art, Insect alludes to violence and the alienated youth in A Clockwork Orange by fusing 60s pop art and contemporary street art with the use of bold colours and the Union Jack motif.

10) Metanoia, by Polly Morgan

Morgan explicitly exhibits the implicit sexual imagery we see from Alex and his Droogs in A Clockwork Orange. The downward pointing triangle is traditionally referred to as the chalice, symbolising the flow of water, the grace of heaven, and the womb – an ancient symbol of female divinity. Seeing this stuffed uncomfortably with a serpent, provokes very real feelings of disturbance just as when we watched those awful scenes in the film itself.

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