The Hammer and Tongs Collection

Anyone with even a passing interest in the world of film and music videos will no doubt be familiar with the work of director/producer duo Garth Jennings and Nick Goldsmith, a.k.a. Hammer and Tongs. Whether this be as a result of their more recent feature films such as The Hitchhikers Guide to the Galaxy (2005) and Son of Rambow (2007) or their hugely iconic music videos for the likes of Blur, Supergrass and REM, you will almost certainly have encountered some form of their work over the past fifteen years or so.

For the first time in their career, The Hammer and Tongs Collection sees the bulk of the pair’s efforts assembled over one disc, including an array of music videos, short films and a behind the scenes documentary thrown in for good measure. Whilst many fans of Hammer and Tongs, myself included, will simply be glad to see the release of such a collection, I feel that despite its moments of unquestionable genius, it is still, at times, a little frustrating. However, theses flaws, which I will touch upon later, are vastly outweighed by some of the most beautifully inventive and innovative music videos from the past two decades.

Some of the more obvious highlights appear in the form of Blur’s ‘Coffee and TV’ (1999) and Supergrass’s ‘Pumping on Your Stereo’ (1999), whose iconic images of walking milk cartons and gigantic, bendy bodies have firmly cemented their place among pop culture’s most memorable moments. This is also true of Fatboy Slim’s ‘Right Here Right Now’ (1999), in which we see the beginning of time followed through to the evolution of man over the course of a three and a half minute song. Fairly ambitious I think you’ll agree.

There are also a number of slightly lesser known gems on this collection, which some may not be quite so familiar with.  For instance, Beck’s ‘Lost Cause’ (2003) is one of the most magically creative and deftly constructed videos in recent memory. Other notable pieces include Eels’s ‘Last Stop This Town’ (1998) and Moloko’s ‘Flipside’ (1998), each possessing surreal, hallucinogenic qualities in equal measure.

Unfortunately, there are one or two forgettable moments. Radiohead’s ‘Nude’ (2007) captures a slow-motion, dream-like effect, which grows tiresome very quickly, the final product being something close to the visual equivalent of a yawn. Not necessarily a bad thing, but hardly a memorable experience. Especially when placed alongside some of the above mentioned masterpieces. The Wannadies ‘Little by Little’ (2003) and Pulp’s ‘A Little Soul’ (1998) also fail to reach the same levels of quality found in the collection’s finer inclusions.

As mentioned previously, there are one or two other flaws to be found. The three short films included, Eiffels Blessing, Toast the Cat and Polish Plums are all very short and extremely unremarkable. Avid fans might enjoy these as a rare treat and a look at the duo’s earlier work. Personally, I felt as though they were included solely to boost the number of features listed on the collection.

However, the most disappointing aspect of the DVD is the shabbily put together documentary. A seemingly random compilation of behind the scenes footage from a number of shoots from over the years, rarely provides any insight or information; a truly missed opportunity to take a glimpse at the inner-workings of one of the most talented partnerships in the business. What makes the documentary seem even more pointless are the hugely extended and unnecessary behind the scenes clips from ‘Son of Rambow’, which has no other mention on the DVD and appears totally pointless in the context of the DVD.

Still, these drawbacks, frustrating as they are, should not taint what is an absolutely outstanding collection of works from such a talented pairing. The inclusion of recent videos, such as the magnificent ‘Cousins’ by Vampire Weekend emphasises just how relevant Hammer and Tongs remain, and furthermore, that there is more than enough potential for just as many great works to look forward to in the future.

Blackmail at the Barbican

When considering the many great works of Alfred Hitchcock, the title 'Blackmail' (1929) is, for many, not one that would immediately spring to mind. Far more likely would be those famous household titles, such as 'Rebecca' (1940), 'Psycho' (1960), or 'The Birds' (1963), each having embedded themselves firmly into the fabric of cinematic and popular culture to such an extent that even those who may not have seen these films are well aware of their influence on cinema to this day. Whether this be through the impact of Hitchcock on the world of horror or through countless parodies of his most iconic scenes over the years, people of all ages will be aware of Hitchcock’s most celebrated moments. However, 'Blackmail', a somewhat forgotten gem from Hitchcock’s formative years, seems to have eluded the same degree of fame and commercial attention as those above mentioned movies. A movie which, in my opinion is worthy of equal celebration.

'Blackmail', Hitchcock’s dark and twisted tale of moral ambiguity follows Alice White (Anny Ondra), a woman who murders a rapist in self defence. Her boyfriend, Detective Frank Webber (John Longden) finds what he believes to be the only piece of evidence linking her to the crime. Unfortunately for them, a wanted criminal known as Tracy (Donald Calthrop) is also able to place Alice at the scene of the murder. What ensues is a story of blackmail and ethical complexity culminating in a finale that I will not spoil now for anyone wishing to see the film.

This Halloween I had the great privilege of attending a screening of 'Blackmail' at Barbican Hall. Accompanied by an original score by Neil Brand, performed by the BBC Symphony Orchestra and conducted by Timothy Brock, the results, I am glad to say were absolutely stunning. Brand’s score somehow manages to provide additional tones, textures and layers to the piece, enhancing each of the elements that made 'Blackmail' such a success in the first place. Its moments of impending danger and mystery are rendered all the more chilling by the orchestration of Timothy Brock, with moments of subtle, understated tension offset majestically by moments of sharp, 'Psycho' ‘shower scene’ style power and intensity.

Such moments are typified in the scene of Alice’s rape, with the orchestra raising the overwhelming atmosphere of dread and foreboding. An already disturbing and unsettling scene, the score also brings with it an added depth of sinister tension, as even though the rape takes place behind a curtain and out of the audience’s sight, the sound somehow adds an extra dimension to the piece, causing the minimal on-screen action to feel far more graphic than it actually is. Equally effective is the violent nature of the orchestration framing the following scene in which Alice kills her attacker with a knife. Once again, through the power of the score, the audience is left with a sense of having witnessed more than they really have; such is the visceral nature of the sound in the scene.

The score also creates the effect of dictating the pace of the film, rather than the film dictating the score, a quality particularly evident in the chase sequences between Tracy and the police. As the orchestration builds in tempo, it also maintains that same, constant tone of potential threat around the corner, raising both pace and suspense in equal measure.

Despite 'Blackmail'’s central themes of threat and exploitation, there are also notable moments of humour and romance, both equally underlined by the score’s seamless ability to shift its tone with deft precision. The early scenes of Alice and Frank having drinks together are beautifully accompanied by a light playfulness in the orchestration, therefore bringing a greater sense of danger and tonal contrast to the sequences of rape and murder which are soon to follow.

Above all else, Brand’s score has breathed new life into an already outstanding piece of work. He, along with the combined efforts of Brock and the BBC Symphony Orchestra, has taken each of the film’s signature themes and developed them to an unprecedented degree. At times humourous and sweet, at others threatening and frightening, 'Blackmail', with this score, is surely as powerful and effective as any of Hitchcock’s most acclaimed achievements. A forgotten masterpiece, 'Blackmail' is as vital a part of the Hitchcock back-catalogue as any other, and if you are presented with the opportunity to experience it with this score, I strongly urge you to do so.