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Older Yank Simon Wells (Macdonald Carey) is vacationing on the south coast of England. He is lured by the lovely 20 year old Joan (Shirley Anne Field) into a mugging by her brother King (Oliver Reed) and his gang of black leather clad bikers. Wells is badly beaten. Meanwhile there is a top secret mysterious military plan going on. There is a group of nine children hidden away living in isolation. Wells takes to his boat. Joan jumps on board after getting tired of her domineering brother. They return to shore to find an empty cliff top house. They are chased by King and his gang to a military base. They escape with the kids' help to their underground hideout. Then the kids rescue King as well.

It takes way too long to get to the heart of the movie. The first part almost feels like a fake out on the audience. I don't really understand the need to take that long to set up the characters. It is excruciating to sit through. It picks up a little when the kids get on the screen. At least the mystery of the kids is interesting. It helps to keep the last half of the movie watchable. However that's all that could said about this movie.

I saw this recently on a late night "British Film Celebration" series, showing various odds and sods of yester-year. In some ways I wished I had videoed it now, as thinking about it afterwards (and thinking about it is certainly something you'll do)there's clearly something going on with the characterisation that was far more important than lets on at first. A second viewing was perhaps needed, certainly the characters don't seem quite fleshed out and when thinking about it I was wondering if that was the point. But here's what I mean by the characters:

• The spiritually hurt "old/young" man played (and in fairness, perhaps miscast) by MacDonald Carey, desperate in some way to "complete" himself; the numerous old English establishment/power figures, feeling out of time and place, as if powerless to deal with the worlds changes, still "in" power but somehow no longer; the devout artist, passionate about her work, which in itself is a little dehumanising (there is a great, heart rending scene, where she cries in agony as Oliver Reed destroys some of her art work, that will stay with me for a while); the young girl unable to "become" what she wants, perhaps of her "possessive" brother, who really genuinely wants to protect her from the evils of the world; the emotionless children, full of potential but ultimately radioactive and poison, and most of all the "angry young men" lead masterfully by Oliver Reed, They represent the irrational human, simply wanting to "be" and nothing more.

While trying to follow some sort of standard narrative, there seems to be something else going on in this film that is talking about a far wider, human theme with actually makes it much more of a "pure" science fiction/philosophical film than it maybe gets credit for. Yes, you can look at it at face value and ultimately see it as nothing more than a curious English B movie, but...

The film moves very slowly, but its shift from what looks to be a critique on teenagers turns into a science fiction film with a very gritty message about human survival and with its grim ending its something you tend not to see much in films, either then or now.

Perhaps I am reading FAR too much into the film, but cold war polemic aside there seems to be something far more rhetorical being said about "radiation" and the death of humanity/culture/civility. There seems to be comments made on how the individual deals with a world that can face potential catastrophic change at any moment which will deny you your very humanity and dignity. I'm not saying the film does this successfully, but nonetheless it's a very interesting "attempt" and well worth a little look.

Oh...and as for the "Black Leather, Black Leather, Smash, Smash, Smash" song. Well, it's interesting... Maybe there's a comment being made there too...about inanity? Perhaps I need to get out more.

A delightful piece of Cold War cynicism about a small group of radioactive children being raised by the British government to repopulate a future post-nuclear Earth. It opens with some beautiful footage of 60s Dorset, with Teddy Boys ruling the streets and the instant hit "Black Leather" blaring on the soundtrack. Even the mandatory love story has a cynical edge – the hapless middle-aged burnout falls for the shill who sets him up to get his arse kicked by the Teds, and she, hopeless and soapless herself, can't find anything better to do than fall for him. No one is right in this movie, and ultimately, we are all the Damned.

These are the Damned, also known as simply The Damned, is a very special movie. it was made by hammer, but doesn't feel much like a hammer film. it was directed by an American named joseph Losey, who moved to England in an attempt to find work after he was blacklisted by the House Un-American Activities Committee. he returned to the US later, and made a few interesting films, like Secret Ceremony with Elizabeth Taylor and Robert mitchum, and The Accident. This is, I think, his only science fiction movie.

And it's a bitter, angry, sad and highly frustrated-seeming Cold War story. It manages to throw together a bunch of disparate elements in a really interesting and original way. It has a juvenile delinquent gang led by Oliver Reed in an early role, an American tourist, a group of scientists and military types doing covert experiments on children and an intense Scandinavian artist lady who creates weird sculptures, all congregating in an English seaside town. When the tourist gets mixed up with the gangleader's sister, he vows to protect her from her brother and his thugs. Big mistake. you really don't want to get on Oliver Reed's bad side. Fists fly and tempers flair, and soon our hero and the somewhat drippy sister are on the run, and end up finding out about the scientists and their highly dubious experiments, experiments which the lead professor type believes to be absolutely necessary. You see, he's convinced that a nuclear holocaust is coming, and his work is the only way the human race will survive.

I don't want to spoil this movie by saying much more about it. let's just say and, ok, it's not even a 70s movie so there's not a lot of blood and violence or anything, but to me, this is really intense, mostly in a psychological way. The ending is really sad and, if you have young loved ones (children, relatives, whatever), will make you want to hold them close for a while. Of course, this is one of those movies, like the Space: 1999 series, that ascribes some pretty strange properties to radiation, but it's a bit more realistic than that, and the science aspect isn't really that important anyway. It's more of a drama with a science fiction underpinning.

As well as Oliver, there are some other standouts in the cast. Alexander Knox as the professor is the closest thing the movie has to a villain, but he's not evil at all -- his motivation is that he wants the human race to survive, and he has a really nice relationship with Freya the artist, who is portrayed with real class and poise by Viveca Lindfors. She's a melancholy character, but also kind of the heart of this film, in a way, showing in a real physical sense what beauty humans can accomplish and why the race maybe should survive after all. In the end, oliver Reed's King character tries his best to be a hero. Yes, he's quite an interesting guy, at first a dangerous psychopath, but when the chips are down, he turns out to be not a bad sort. his last scene is just terribly grim and then it leads up to that heart-breaking ending.

So yeah, definitely not a feel-good film. it's personal and not everyone will agree, but to me, this is just as effective a Cold War story as Dr. Strangelove in its own way, and it was even made the same year. I kind of love that this movie is so unknown. People will watch it, expecting maybe some kind of thriller that they can easily forget about the next day, and, maybe, some of them will end up haunted for life by this thing. I know I was; it's a film that is oddly difficult to stop thinking about, even so many years on, when the threat of nuclear annihilation has receded in most peoples' consciousness to a vague but foreboding twinge of menace somewhere on the horizon.

A lot of great horror films were produced by Hammer Studios, and The Damned certainly ranks up there both as one of the studios best, and as one of the weirdest. The film is a mix of drama, thriller, horror and sci-fi and is inventive and refreshing in the way it plays out and I guarantee that if you go into this film without first finding out what it's about, you'll never guess where it will take you! The plot structure basically has two main threads to it and neither one is related to the other, but the film pulls them together well. The first plot we are introduced to focuses on Joan, a young woman who gets involved with an American tourist. He gets beaten up by a gang of thugs and it soon transpires that Joan is the sister of the leader of them! The two run away with the angry brother and his gang hot on their tails. The second side of the plot concerns nine children who are being brought up in isolation inside a secret military base as they have somehow been born radioactive. The two plots combine when the American and his girl stumble into the base with the brother after them.

This film was always in danger of becoming messy considering how the story changes dramatically half way through, but it actually flows really well and the story manages to keep the first plot running even when the second one takes centre stage. The themes of the story do get lost somewhat under what we are directly seeing on screen, but 'The Damned' is a very fitting title as the movie deals with a situation born out of the need for a contingency plan in case of nuclear war. The fact that the plot focuses on both sanctioned and unsanctioned criminals makes it more interesting. The film is also very haunting; the children themselves echo those in the classic Village of the Damned and the gloomy plot line gives off its own formidable atmosphere, which is reinforced well by the way the children are treated in their prison/home. The central cast is excellent with Shirley Anne Field and Macdonald Carey getting good support from the always memorable Oliver Reed. The children give some of the best performances in the film and manage to capture what you would expect of children in their situation very well indeed. Overall, The Damned is one of Hammer's most strange and surreal films; but it marks a welcome change and it's not a film I will forget in a hurry. Don't miss out on this one!