The American title for this low budget SF film was Blood Beast from Outer Space which, while making its exploitation credentials clearer, is more than misleading. Spoiler alert: the beast is kidnapping young women, who aspire to be models, for procreation purposes on Ganymede (a moon of Jupiter). As Steve Chibnall points out in ‘Alien women: The politics of sexual difference in British sf pulp cinema’ (in ed. IQ Hunter British Science Fiction Cinema), the British at the time were worried about young women, not aliens.
Although the beginning of The Night Caller suggests Cold War paranoia, Patricia Haynes’ blonde scientist is soon portrayed as rebuffing John Saxon’s advances. No doubt at the time his double entendre (about beds) would be seen as flirting; now, hopefully, we realise that this behaviour isn’t appropriate in a work situation. So she is characterised, despite being blonde, as somewhat frigid. On the other hand, female scientists are thin on the ground in film (and life) and she is a particularly dynamic character and takes it on herself to act as a bait by replying to the ‘beast’s’ advert, to be a model, in Bikini Times. During this confrontation the beast explains:
‘I fear what I cannot control, and I cannot control an intelligence which is almost equal to mine. A mind such as your searches and destroys’.
Clearly young ’60s women were giving men some problems and, of course, she is punished for her ‘uppityness’.
As you may have gathered, The Night Caller is more interesting as symptom of the mores of the time than drama. It has the production values of early Doctor Who though cheapie specialist John Gilling does direct with some vigour. The best scene is when a victim’s parents explain their bewilderment about their young daughter: Warren Mitchell and Marianne Stone are hilariously deadpan culminating in the moment when the former produces a requested copy of Bikini Times from beneath a sofa cushion.
Touch and Go is an Ealing film I knew nothing about before I watched it on Talking Pictures TV, though most of the cast and crew were familiar. When I looked the title up in Charles Barr’s Ealing Studios book I discovered that it is one of the prime exhibits in his condemnation of the ‘End’ of Ealing in the 1950s. It’s hard to argue against Barr’s analysis of what the film represents in terms of a studio that appeared to have lost its way and indeed its purpose by 1955-6. To emphasise his argument Barr contrasts the film with The Ladykillers, one of the few successful films from the same period. It’s a legitimate comparison in the sense that both films are shot in Technicolor and located in specific districts of London – and both were written by William Rose. But one has great vitality and a real cutting edge while the other is ‘suffocating’ and ‘stodgy’. My own preference is to try to find something of interest in everything I watch and Touch and Go reveals some aspects of British culture in the 1950s, even if the overall effect is indeed ‘deadening’.
The film’s plot is very simple. Jim Fletcher (Jack Hawkins) is a furniture designer who stomps off from his job because the firm’s head man (James Hayter) refuses to consider expanding production of Jim’s modernist furniture. This is a classic Ealing set-up of traditional v. modern written by Ealing stalwart Rose from an idea conceived by himself and his wife Tania. Jim decides that his family should emigrate to Australia – his wife Helen (Margaret Johnston) and 18 year-old daughter Peggy (June Thorburn) having little chance to object. The main section of the narrative then concerns the last few days before departure from Tilbury. The second ‘inciting incident’ is provoked by the family’s ageing black cat, a cunning brute named Heathcliff, who causes Peggy to meet a young engineering student Richard (John Fraser) and very quickly fall in love with time running out before ship sails. Will they actually get on board? Well, what do you think?
Technically, there is little wrong with a film shot by the great Douglas Slocombe and though it may have been Michael Truman’s first directorial credit he had been an editor on many of the Ealing classics of the late 1940s and a producer on similarly well-known films in the early 1950s. This film is edited by Peter Tanner, also a very experienced Ealing hand. The cast too are fine with Hawkins turning his contrasting avuncular charm and rages towards domestic struggles and occasional comic interludes with his neighbour, Reg (Roland Culver). The plotting includes some important details such as Jim’s recognition that Richard will be facing National Service, a concept most audiences under 70 will probably have forgotten about. Richard also wants to be an engineer and seems enthusiastic about something that was once a British strength. By contrast, the script does nothing with Jim’s designer skills, his role as a designer is a plot point and not much else. Heathcliff is actually the most interesting character.
The film’s setting is the Fletcher home in a Chelsea house with a basement kitchen. The house is part of a studio set with a pub handy across the road. It’s very quiet and Jim and Reg can stand in the middle of the road in the late evening, drunkenly talking and larking about. A few yards from the set is the ‘real’ London of the Albert Bridge and the Embankment – which is actually quite well-used as the setting for the romance. Barr’s comparison with The Ladykillers is valid, but the more revealing comparison is with John Ford’s Gideon’s Day (UK 1958). This odd excursion for Ford is a mix of police procedural and family melodrama, filmed in Technicolor with Hawkins as Inspector Gideon and also paterfamilias with a lively daughter played with pizzaz by Anna Massey, a music student who becomes involved with a bright young police constable. Ironically, Ford’s film was co-scripted by the Ealing writer ‘Tibby’ Clarke (writer of Passport to Pimlico and The Lavender Hill Mob). The script is full of comic moments amongst some rather grisly crime stories. My focus in the comparison with Touch and Go is the contrasting characterisation of the daughters. June Thorburn as Peggy is lovely and convincing in her role but she seems a young 18 (she was actually 24) and the script has her attending what appears to be a secretarial school for middle-class girls. The mothers in these films seem to be stay at home housewives even though their children are independent young women. Anna Massey’s music student has the banter of an arts student and the drive and the wit. Peggy looks beautiful on the dancefloor in her rather formal gown, even though the music is trad jazz with a trumpet solo played by Richard’s fellow student. Bill Rose’s script is so timid that the potential in the characters rarely develops into anything. Charles Barr makes the point that the Ealing films in his ‘End’ phase seem almost primed to become TV sitcoms, soaps and dramas. At the end of 1955 the Ealing Studios lot was actually sold to the BBC and, breaking with Rank, Ealing moved to the MGM British lot in Borehamwood in 1957. The Ealing site would now become the production centre for ‘cop shows’. Jack Hawkins made The Long Arm for Ealing in 1956, a ‘police procedural’ film in some ways looking forward to Z-Cars on TV. Pat Jackson’s Ealing film about nurses in training, The Feminine Touch (1956) could also be seen as the precursor for hospital soaps. Following ITV’s Emergency Ward 10 (1957-67), the BBC created Angels (1975-83) focusing on student nurses.
The potential of Touch and Go to tap into the migration narrative of the post-war period seems to have been deliberately ignored and this seems strange given Ealing’s ventures into Australian productions. Between 1945 and 1972, Australia funded an assisted passage scheme whereby migrants could travel to Australia from the UK for just £10. This was part of the ‘White Australia’ policy and was also linked to the movement of children in care, the focus of Jim Loach’s Oranges and Sunshine (UK-Aus 2010). Alongside these dubious policies, Australia also encouraged migration from Ireland and several other European countries. Michael Powell eventually made a film about an Italian migrant, They’re a Weird Mob (1962). I do wonder why Ealing chose to develop drama/action pictures in Australia rather than comedies, especially in 1955? The comedy Geordie (UK 1955) in which Bill Travers plays a Scottish highlander who competes in the Olympics at Melbourne in 1956 attempted to make use of the interest in the games. But perhaps by this stage, Ealing was unprepared to do anything too different? (Ironically Margaret Johnston was born in Australia – and June Thorburn in Karachi). Touch and Go is at best gentle comedy. I laughed out loud just the once.
The Demi-Paradise was one of the propaganda films produced during World War II to ensure the ‘imagined community’ of Britain both knew what they were fighting for and that they would win. It’s particularly interesting as part of the film’s project was to emphasise that the Soviet Union was our friend and ally. Laurence Olivier plays a Russian engineer designing a revolutionary (‘geddit?’) propellor being built in England. I say ‘England’ because we are in the ‘jolly hockey sticks’ land of the middle class south; Joyce Grenfell even makes an appearance.
Being British isn’t anything to be proud of at the moment because of our humiliating government and the right-wing isolationism of Brexit. Indeed the tosspots who want us out even state that because we survived the war we can survive being outside the EU. Self harm won’t matter, it seems, as long as Johnny Foreigner keeps his distance. They might do well to watch this film as, even though it’s full of middle class paternalism, there is a real sense that ‘we are all in it together’ (a phrase recycled by George Osborne as he proceeded to screw to poor for the benefit of the rich). Felix Aylmer’s patriarch, and owner of the shipyard, rails against income tax, complaining that ’10 shillings in the pound’ (50%) should be higher! The Russians are praised of course, in stark contrast into the Russophobe propaganda we are fed these days (no I do not like Putin).
Another striking moment is when the workers insist they’ll deliver what’s required. The first to speak out is on old woman who’s later seen soldering. A bloke follows stating that ‘where women go we won’t be far behind’. That would be a pretty amazing statement of female empowerment even nowadays.
The film was produced and scripted by Anatole de Grunwald whose parents had fled the Soviet Union and he very effectively brings an outsider’s view on some of the absurdities of upper middle class life; most particularly the pageants that seemed to have been popular at the time. I’m not sure if it is a British trait that we can laugh at ourselves, a very healthy aptitude, but de Grunwald seems to think so and his satire is affectionate.
Olivier’s ‘love interest’ is played by Penelope Dudley-Ward, daughter of a socialite and so is well cast in the depths of the plummy accents that surround her. Despite my antipathy she is engaging in the role; she retired from acting after marrying director Carol Reed. There are several character actors, that run through British cinema like writing in rock, dotted about the movie including George Cole, John Laurie, Margaret Rutherford and Wilfred Hyde-White (who even manages his trademark sardonic smirk in the role of a waiter with 10 seconds of screen time).
The Demi-Paradise is nowhere near being a great film; it is a competent one. However, as a taste of fraternity between nations who are only enemies because it suits the establishments of both nations to be so, it is well worth seeing. The title’s a quote form Richard II (Shakespeare) by the way.
Mike Leigh was quite right to say that the Peterloo massacre should be taught in schools and he should be credited with bringing it to the screen; however it would have been better with a different writer and director. Leigh allows the film to be carried, up to the massacre, by speeches made by reformers. In the way of middle class Victorians, who never used one word if they could squeeze in ten, there’s a lot of rhetoric. This does give a sense of authenticity, Leigh made his name with ‘realist’ portrayals of the working class, but it also induces extreme torpor in the spectator.
Worse, Leigh’s weakness for caricature, which always marred his representations of the working class for me, leads to distracting characters such as Tim McInnerny’s Prince Regent. Caricature is used for humorous satire and whilst I don’t doubt that the Prince was a buffoon his words are sufficient to damn him; his presentation as a preening peacock is distracting and Ian Mercer’s Dr. Joseph Healey is straight out of the Leigh’s catalogue of the ridiculous grotesque. Worse, to ensure we understand the Salford Yeomanry were drunk before they commenced to slaughter the demonstrators, we are shown them toasting by flinging their beer into the air three times. Apart from the fact that I doubt Northerners would waste their ale in such a way, it has the impact of a sledgehammer entirely unnecessary for the narrative point. Sure, melodrama is about exaggeration and excess but this was plain stupid.
In addition, just as the slaughter is about to commence, Maxine Peake’s character complains she can’t hear the speaker. Fair enough, but the way it is shot evokes Monty Python’s The Life of Brian (UK, 1979) (‘blessed are the cheesemakers’); to introduce farce at this moment was farcical.
There’s more: Leigh cannot direct an action sequence, a large failing at the climax. His constant use of long lens, which foreshortens the perspective and fails to give a convincing sense of space, and placing his camera in ways that seemed to be chosen as the most convenient position (rather than an expressive position) serve only to sow confusion in the audience. It’s not giving a sense of the characters’ confusion and then panic so the horrendous slaughter fails to emotionally engage, a shocking failing when portraying a disgraceful moment in British history.
Dick Pope’s cinematography and Suzie Davies’ production design are good; as are most of the performers. But the result is a massive wasted opportunity to educate in an engaging way a shameful event. Of course the ruling classes don’t slaughter the poor with weapons any more but repress, with sometimes fatal consequences, through institutional means such as Universal Credit. We’re left with a film that will ensure no one makes one about the Peterloo massacre for many years to come and it would have been better if Mike Leigh had never made it.
Disobedience is a wonderful film. It is quite a feat to make a film nearly two hours long that focuses on the intimate relationships of three childhood friends in later life plus the significant absence of a father and short sequences with assorted relatives and fellow members of a religious community. It is even more remarkable when English isn’t your first language and your film is set in a closed community that you don’t necessarily know much about. I’d read something about the film and the book it was based on, but as often happens these days, I immediately forgot who the director was. Part way through the film I thought this must be a female director who is handling these scenes so sensitively and I remembered that the film is an adaptation of a novel by Naomi Alderman. The end credits reminded me it was actually the Chilean auteur Sebastián Lelio in the middle of a run of three films made over two years. A Fantastic Woman arrived in the UK earlier this year and his English language remake of his own Gloria (2013) is released in the US next year.
Lelio approaches his task with two familiar strategies. One is a ‘don’t explain’ approach in which audiences are required to wait and attempt to puzzle out who is related to whom when Rachel Weisz as Ronit Krushka lands back in North London from New York. We work out quickly that she is the daughter of the Rabbi Rav Krushka (Anton Lesser) who died during the opening sequence in his synagogue. But whose house are we now in and what do all these people mean to Ronit? Ronit has decided to live ‘outside’ this very specific Jewish community as a single woman working as an art photographer. Her single status and her professional life is a concern for her relatives. I don’t want to spoil the narrative so I’ll just say that Ronit is welcomed by Dovid Kuperman (Alessandro Nivola), who she has known since childhood and who was her father’s protegé. Eventually she will also meet Esti (Rachel McAdams) who was the third member of a childhood trio. At this point I feel I need to say that Esti looks younger than the other two. In one sense this isn’t a problem but the script insists that they were together as children and Weisz and Nivola are 8 and 6 years older than McAdams. Perhaps this is a commentary on the ‘maturity’ of characters rather than actual age? I only mention this because the age difference is palpable. It also makes it more difficult to work out how the characters are related.
The second strategy is to use a shooting style that switches between long shots and close-ups. The film was shot mainly in streets of semi-detached houses in Hendon. The close-up style at times uses a very shallow field of focus so that characters move into and out of focus very quickly. There is a tension between the ‘openness’ of the long shots of streets and the confining atmosphere of the ‘closed’ community. The author of the original novel, Naomi Alderman writes in the Guardian about how she felt watching the adaptation of her novel about the frumkeit of Hendon, the very specific Orthodox Jewish community in North London. I hadn’t realised that there are important differences between this community and those of Golders Green and other parts of North London, especially Stamford Hill, the centre of Ultra Orthodox congregations. Ms Alderman suggests her novel, written during the aftermath of 9/11 in New York, was the first to focus on this kind of Jewish community since George Eliot’s Daniel Deronda in 1876. She suggests that there have been others since. She wrote the novel while still ‘frum‘ or ‘observant’ of the teachings of her synagogue and writing it was part of the process of acknowledging her LGBT+ status. All of this is part of the film and when Esti and Ronit ‘escape’ the confines of the community, they find a hotel in Central London where they can rekindle the passion they had for each other as teenagers.
The film’s narrative is kept almost completely within the community apart from the episode referenced above. This means that it isn’t a narrative about conflict between the community and the wider world but rather, as the title suggests, within the community itself, posing the question of the freedom to act and what pursuing or prohibiting that freedom means in terms of obedience/disobedience. There is a danger, perhaps, of treating the restraints of such a life style as ‘exotic’, but I think that is avoided in Lelio’s presentation of the story. My one disappointment with the film is that there are no subtitles for the Hebrew spoken in the synagogue. I’m assuming that there is also Yiddish spoken in the film (‘frum‘ as I understand derives from Yiddish?). I’d have liked to know more about what was being said but perhaps this ‘withholding’ of knowledge is part of Lelio’s approach as outlined above. I knew there was something odd about Esti’s hair, but I hadn’t realised that a sheitel or wig was required for a married woman in the community.
The success of the film depends to a large extent on the performances of the three leads and the supporting cast, including Alan Corduner as Uncle Moshe. In some ways, the key role is Dovid and Alessandro Nivola manages to represent a character whose actions appear ambivalent. He is in the opening scene as his mentor makes his final speech about freedom and he is the one who makes crucial decisions about freedom at the end of the film. In between we can’t be absolutely sure what he is thinking or indeed feeling – but it is a struggle. It is the two women who seem able to be able to act, to some extent, on their emotional impulses. The film should be a melodrama but Lelio’s approach drains much of the potential for ‘excess’ in the colour and mise en scène – several scenes deal with the rituals of mourning and remembering the absent father figure. But there is music and the small group singing, especially of male voices, is very affecting.
Rachel Weisz was a producer on the film having optioned the novel. I’m not sure how much she was then involved as a producer. The crew list includes many ‘executive’ and ‘line’ producers and I suspect the major burden was borne by Frida Torresblanco of Braven Films. She is a significant figure in Hispanic films, now based in New York. I’m not generally pleased with the trend for filmmakers from smaller producing countries to move in anglophone productions but I have to admit that Sebastián Lelio is very successful with this venture and I look forward to Gloria Bell – I just hope we get it sooner rather than later.
PS. Last night I watched a fascinating documentary on BBC1 about the history of the Jewish community in Leeds. This seemed to have a ‘Reformed’ rather than Orthodox practice but it was equally revealing about migration and a community within a community. A Very British History: The Jews of Leeds is on iPlayer for 29 days.
Ken Hughes’ biggest hit was Chitty Chitty Bang Bang (UK, 1968) and he seems to have little in common, although he was roughly the same age, with the British ‘new wave’ directors such as Tony Richardson and John Schlesinger. A characteristic of the wave was its northern settings and despite being set in London The Small World of Sammy Lee shares its ‘down at heel’ gloom. Anthony Newley was using the film, he hoped, to prove he could be a serious actor and it was made whilst he was performing in his hit West End show, Stop the World, I Want to Get Off (Newley was a multi-talented superstar of the era). The film covers less than 24 hours of Sammy’s little world which he spends performing as a compere in a strip club whilst trying to find £300 to cover a gambling debt: at 7pm he will be beaten up.
Most of the film is set in Soho, an area Hughes apparently knew well and his script reeks of authenticity. There is certainly a smell about Soho at the time which is explicitly revealed in a climactic moment when Sammy tells his audience, consisting of seedy, middle aged men, the truth. It reminded me of Maureen O’ Hara’s ‘showgirl’ in Dance Girl Dance (US 1940) when she tells her audience ‘home truths’; if memory serves, Hughes isn’t quite as daring as Dorothy Arzner (yes, a woman director in classical Hollywood) who had O’Hara directly address the film’s audience. Soho was known for its sex clubs and, like Expresso Bongo, there is titillation to be had from women in underwear and tassels on their nipples. The women’s matter-of-factness is well conveyed, it is just a job they have to take, and Julia Foster, as the ‘naive northern lass’, portrays her humiliation with pathos. The club owner’s (Robert Stephens) rant about ‘any woman who takes her clothes off is a whore’ emphasises the misogyny of the time.
Hughes’ film not only condemns the treatment of women, Sammy himself is shown to be a pathetic male chasing thrills and ignoring consequences with his gambling. Newell plays him as a schmuck, not a bad guy as such but contemptible. The scene when he taps his brother (Warren Mitchell) for money is, this article suggests, a rare presentation of Jewish life in British film. When his brother berates his wife (Miriam Karlin) for spending money on clothes she looks at him with disdain and reminds him he married her because of her ‘looks and class’. She also has no truck with Sammy’s pleadings.
Despite the fact the ending of the film has a dab of sentiment, it doesn’t ameliorate the desperation of Sammy’s life.
The restored print (shown on Talking Pictures) looks great. Cinematographer Wolfgang Suschitzky, who only died two years ago (aged 104 and also shot the classic Get Carter, UK, 1971), worked mostly in documentary and he brings out the grubbiness of Soho well. However the area’s multi-cultural vitality isn’t missed; an opening tracking shot along a row of restaurants shows the diversity of cuisine on offer. Sammy chats to Afro Caribbeans in passing as with anyone else. When desperately trying to buy drugs, Sammy asks a black jazz pianist (I haven’t been able to find who is playing the role) and is berated for his racist assumptions that a black person would necessarily have drugs; a progressive representation for its time and now.
Much of the footage of Sammy racing against time through the streets was obviously shot with no cordoning off as the public can be seen watching him which, paradoxically, adds to the authenticity of the film. Neither John Hill’s or Robert Murphy’s books on British cinema of the time mention the film and I think it should be placed alongside ‘new wave’ classics such as A Kind of Loving (1962) and This Sporting Life (1963).
With John McGrath writing the script you can be pretty confident there will be a sensible political message and this thriller (well, generically it’s not quite clear, but thriller might be the best category) is both of its time and about a system that is still with us.
At the start, where Nicol Williamson’s protagonist (Marler) is having ‘rough sex’ with his wife to be followed by aggressive driving of his Jaguar, I thought we were in a gangster film. It has a similar look to the concurrent Performance (UK) and shares the time’s love of exaggerated zoom shots; both had major studio backing: Columbia and Warner Bros. respectively. However, it soon becomes clear he’s a go-getting executive (not so different from a gangster really). However, he has to return to his roots, a Liverpool that still has pre-war housing and bomb sites, as his father’s ill.
Unsurprisingly, for he’s been living in Virginia Water in a massive detached house, he finds Liverpool’s anti-establishment ethos gives him perspective. On his return south he gatecrashes his wife’s dinner party (it is in his own house), drunk, and tells the pinstriped tossers what he thinks of them. The class tensions remind us that although the 1960s were more egalitarian than the decades before, as McGrath makes clear, the ‘old order’ is still in charge.
Apart from the distracting zooms, Jack Gold‘s direction is confident. He shoots crowd scenes well and there’s a great moment at a wrestling match where the contestants suddenly realise that the audience has erupted into a riot. They stand together bemused, watching the mayhem. McGrath was born in Birkenhead which vouches for the authenticity of this portrayal Liverpool.
Williamson’s career was ended by drink but he’s a formidable presence in the film, even if it is difficult to understand why he has such a ‘way with women’ (the misogynistic tones are of its time). Rachel Roberts is great as a ‘good time’ mother who clearheadedly knows what she wants and what she can get.
Apparently McGrath suggested that his script prefigured Thatcherism and it’s true that the ruthless corporate culture is still with us, evidenced by the CEO of Bet365 paying herself £217m in 2017.
The retrospective programme in Leeds this year focused on time-restricted narratives – ‘Time Frames’. Among some interesting East European films from the 1960s and early 1970s was this odd little film by Canadian director Sidney J. Furie. After a couple of directing jobs in Canadian film and TV, Furie had arrived in the UK hoping for bigger and better films. But first he wrote and directed this 85 minute B+W drama which received an ‘X’ Certificate from the British Board of Film Censorship. It was made at Walton Studio in Surrey for Gala films, the company belonging to Kenneth Rive, best known for bringing foreign language films into the UK. My assumption is that it was intended as a ‘programme filler’ for Rive’s European films, many of which were X-rated, as well as some of the adult dramas finally beginning to appear from British studios. The BBFC website suggests that the film was cut to receive an ‘X’ which is quite bewildering. The version we saw (on 35mm film) displayed the X Certificate but was definitely cut as there is at least one still available from a scene which wasn’t in our print.
So you might be wondering what this X film is about. The time frame is less than 24 hours, beginning when a USAAF daylight bombing raid is over Europe about to drop its bombs. The co-pilot is hit by German anti-aircraft and David the young Captain pilot steers the bomber back to the UK. He has just one more mission before he can return home and his crew determine to help him lose his virginity (he’s 21) before that last flight. David’s anxiety increases when he learns that though the co-pilot has recovered in hospital, the shrapnel has castrated him. What follows is a psychological drama spread over a night in the local village. At its centre is David’s encounter with Jean, the daughter of the pub landlady.
Furie appears to have recruited all the young Canadians he could find in London to play the American airmen. Most of them are fine with just the occasional Toronto vowel showing through, but the lead role of the Captain is played by Don Berisenko, a young man who clearly modelled himself on James Dean and here spends much of his time with his uniform cap pulled low over his eyes and with along wild hand gestures and body movements. Fortunately, his main scenes are with Susan Hampshire as Jean, a couple of years older than him but playing younger. She counters his method acting with something much calmer and quieter but more effective. The script plays with the moral code of the period which was severely tested under wartime conditions. Eventually human feeling prevails, though in a sense the narrative resolution is ‘open’ as to what happened to the ‘girl’ and the ‘boy’ afterwards.
I found the dialogue in the opening scenes on board the aircraft risible but the script improved and if I’d been presented in a cinema with this in 1960 as the ‘B’ picture I would have been quite happy. I’m struggling to work out what would have needed to be cut for an X but then the BBFC’s decisions often baffle me. Researching the film after the screening I discovered that the film has been broadcast several times on Talking Pictures TV, but only in graveyard slots at 01.00 or 02.00 in the morning. If it is listed again I might record it to check out the cuts.