In recent months, I've been converting some old tapes as well as some laserdiscs to DVD-R. I don't always watch them while I do this, but it can be an engrossing process, refreshing my memory about beloved films, good and not-so-good, which have not been part of my current consciousness because they haven't been released on DVD or shown recently on broadcast television. The process can also unearth some unhappy discoveries about the state of one's collection, and how it's deteriorated while we haven't been watching it.
I've never had the problems other laserdisc collectors have reported with "laser rot" and so forth, but I did discover a different kind of problem recently while attempting to convert a disc. In the past year, I had placed a winning eBay bid on a Japanese import laserdisc of the Sex Pistols last concert at Winterland in 1978. I watched it when it arrived and the disc played perfectly. Would that I had converted it then! A few weeks ago, while recording it to my hard drive, I discovered that somehow, in the meantime, it had developed a crack and no longer played past a certain song. Considering what I paid, I don't think I got my money's worth out of this one, so I was miffed. I was hoping to burn the Pistols' Long Horn Ballroom and Winterland shows to the same disc, and now I have the Long Horn Ballroom show on my hard drive, which I'll probably end up burning to disc separately. It makes me wonder what other sad stories might be awaiting me in the deadweight of my laserdisc closet.
Ah, but there are joys to be rediscovered there, too. Last night I decided to convert my Warner Home Video laserdisc of Lindsay Anderson's O LUCKY MAN! (1973), my thoughts having been turned in that direction by a recent letter asking me if Warner had any plans to release it on DVD. (Of course, I have no way of knowing what any company plans to do until they do it. I'm in Ohio.) I didn't intend to watch it, but once Alan Price's infectious score kicked in, I couldn't pull myself away.
That's Lindsay Anderson on set, directing Alan Price (who appears with his band throughout the film as a sort of Greek chorus commenting on the narrative).
Based on an original idea by star Malcolm McDowell and scripted by David Sherwin, O LUCKY MAN! attends the CANDIDE-like misadventures of an ambitious young coffee salesman that educate him in the dark, labyrinthine and oft-interconnected ways of sex and politics, big business and government, crime and punishment. It's one of those works of art, like John Lennon's ballad "Working Class Hero," that I think should be required experience for everybody when they reach a certain age, not only for the sake of their artistic education, but their education in life. Knowing this film, I believe, will make you a better person -- at least if you like it.
Though a stand-alone film, O LUCKY MAN! is also a vague sequel-of-sorts to an earlier Anderson film, IF... (1968), which starred McDowell as a character with the same name, Mick Travis. Whether McDowell's two characters are, or are not, the same person in terms of continuity, O LUCKY MAN! makes a number of references to IF... in terms of content and shared casting, and it makes similar references to McDowell's more recent success in Stanley Kubrick's A CLOCKWORK ORANGE (1971) -- again, in terms of shared casting (Warren Clarke, ACO's "Dim") and other references (Ralph Richardson plays a "Mr. Burgess," McDowell sports an Alex-like derby at one point, and the films touch on similar subjects of good and evil, as well as prison and reformation). I'm making it sound overly intellectual and dull, but it's actually lively, spirited and funny, moving from one big surprise after another -- part of the fun is noticing how the actors recur in different roles, and determining what those different roles have to do with or say about one another. Seeing it again, I was not only surprised but deeply impressed that it managed to communicate itself in an adult fashion without the use of profanities and also that it's as erotic as sometimes is without nakedness. (The only sexual nudity in the film is, as they say, "non-diegetic" -- glimpsed in a stag movie and stage performance that are meant to look ridiculous.)
I first saw O LUCKY MAN! at Cincinnati's long-gone Carousel Theater (a fantastic screen) in the summer of 1973 with my friends Ben and Cathy, and we all liked it so much we automatically and unanimously decided to sit through it a second time -- and it's a three-hour movie. Actually, it was just under three hours in its original US release, which cut a section of the "East End" portion where Mick Travis (McDowell) attempts to dissuade Mrs. Richards (Rachel Roberts), a Welsh housewife and mother, from her plan to commit suicide. This section, which was restored to the home video release, would prove unfortunately prophetic as actress Rachel Roberts later took her own life. (The complex and messy details of her demise can be found on her IMDb page under the heading of "trivia.") The film ends jubilantly, with a festive dance with all the cast members in costume that begs confusion with the movie's actual wrap party, and as time goes on, it becomes more bittersweet to see the still-living (McDowell, the delicious Helen Mirren, Mary MacLeod) commingling so joyously with the now-dead (Anderson, Arthur Lowe, Mona Washbourne). McDowell, Anderson, and Sherwin revisited Mick Travis in a third film, BRITANNIA HOSPITAL (1982), interesting but the least of the series and the only one of the bunch that's ever had a DVD release. It's still available from Anchor Bay.
There hasn't been a proper release of O LUCKY MAN! since Warner issued it on VHS and LD a decade ago, which means there's now an entire generation of people out there who haven't had the opportunity to be enriched by it. The soundtrack album is available on CD and highly recommended, though it's absurdly overpriced for a disc that barely runs 25 minutes.