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fusion elite, is incredible. Despite its tongue-


in-cheek approach, the film still conveys that misty, dreamy otherness


that somehow only productions shot just outside Middlesex seem to achieve. It may not have the import of The Wicker


Man, but for that reason, it has grown in status and curiosity value, helped by the fact that despite its regular television appearances, it has yet


to officially appear anywhere on DVD except as part of a very obscure Region 1 box set.


The 1970 thriller Eyewitness, with a title song by Fairfield Parlour and incidental music by Van Der Graaf Generator, has recently resurfaced via the same route. Dig deeper, though, and you’ll find many great British films considered “lost” in their home country, a tradition that seemingly began before DVD even existed.


Wild Angels Of Wraysbury Reservoir), are among ’70s horror’s most enduring characters, he looks like a cross between John Lodge and Dave Davies, the dialogue (“the word, Mother, is busted”) is wonderfully daft, and the soundtrack, featuring that song by Harvey Andrews, that burial scene, and half the British


The first time I saw Roddy Macdowall’s bizarre folk-horror Tam Lin, a film as legendary for its Pentangle soundtrack as its inane dialogue (such as Joanna Lumley’s priceless “life is an illusion, so therefore nothing is permanent – I think I shall go to Sweden”, and Maddy Smith’s more prosaic interjection “I’ll swallow anything as long as it’s illegal”), it was on a “dodgy” NTSC video acquired from some bizarre US cable channel where they seemingly show this stuff in perpetuity.


My copy of Amicus’ What Became Of Jack And Jill, starring a pre-Tommy Paul


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