Where Has Poor Mickey Gone?

Where Has Poor Mickey Gone? Was made at a time of rapid change in Britain. The old, post Victorian world was fading under the assault from the 'demob' generation, now free to build their lives and apply what they had learned from overseas postings and contact with US culture. This is exemplified by Ottilie Patterson, who wrote and performed the powerful title and credits song. She was born in Norther Ireland to an Irish father and a Latvian mother, who had met in Georgia during the war.

Watching this film on Talking Pictures, I was struck by the visual, as well as textural, resemblance to A Clockwork Orange. In particular, Mick himself, with his signature hat and pointy nose, looks so much like Alex, and acts so much like him I can't believe it is a coincidence. The book had been published two years before Where Has Poor Mickey Gone? Came out, so it is quite possible that it was inspired by, if not based on, Bradbury's novel. Stanley Kubrick's film was a decade in the future, but the parallels are such that there must have been an influence. I never rely on "must have", but it would be worth pursuing for a film academic.

This 'X' certificate short was originally shown at UK cinemas with Roman Polanski's 'Cul-de-Sac'. It's unavailable commercially but I've now had the chance to see it at last, having obtained a copy on video for private viewing. It tells a neat, effective story which holds the attention, with Warren Mitchell giving a memorable performance, and a very young John Challis (now well-known as a television and stage performer in the UK) as one of the thugs who terrorise him. The pay-off is really clever and satisfying. It's a pity this film has never turned up on television and is virtually a 'lost' movie. It's well-worth seeing.

Three young hoodlums and a hanger on commence their evening's recreation by being forcibly ejected from a jazz club, regaling the two burly, built like a brick bog-house bouncers with a torrent of abuse and threats, as they depart, smashing the club sign for good measure, before scarpering into the darkness.

They're not looking for trouble; they know exactly where to find it! Next up, a brutal, unprovoked attack upon a courting couple, leaves the man lying unconscious and the girl deeply traumatized.

A quick visit to the local chippy, followed by a further bout of taunting teenage girls and the night's work seems to be winding down.....until, peering into a dimly lit, low brow warehouse, they discover an Aladdin's cave of fairground attractions and novelties, presided over by slight, balding, middle-aged proprietor Warren Mitchell, checking the day's takings, prior to heading home.

With a suddenly rejuvenated, kid in a sweet shop mentality, they are instantly using and abusing both props and equipment, destroying Mitchell's livelihood and potentially, one fears, his life. He has, however, a single outside chance to outwit his assailants.....and that's magic!

With the action taking place entirely by night, pretty much in real time and with a constant sense of threat and menace, 'Mickey' evokes an inherently noirish tone. Throw in a title song performed by Ottilie Patterson, with support from Chris Barber and Sonny Boy Williamson and you have an intriguing period piece. A long lost movie, a significant find.

Where has poor Mickey gone? That is the question, apart from the first on screen appearance from John Challis and a wonderful performance from Warren Mitchell there's very little to write about in this film. Oh yes there is, Otillie Paterson singing the theme song about " poor Mickey" her performance is unique in that I've never ever seen this performer on screen before, picture Kathy Kirby singing a jazz blues number and you'll get the idea. As for the film, it's a somewhat dated curio and well worth watch, sadly it will be forgotten just like the whereabouts of poor Mickey. Actually Mickey is Mick whose the leader of the gang of hoodlums, but Mickey sounds better than Mick I guess. Ps This is the sort of play that Pemberton and Shearsmith do with Inside#9 only better. PPS Thanks to the wonderful Talking Pictures for showing this, even the duds are worth a viewing.

For a long time the 'holy grail' of 1960s' low-budget British genre movies that I longed to see appear as an official DVD or Blu-ray release was the Edward Judd sci-fi oddity Invasion (1966), but that was finally issued by StudioCanal in 2014. Since then, another film from the same period has taken its place on my 'must have' list - Gerry Levy's little-seen and much underrated debut b-movie Where Has Poor Mickey Gone? (1964); the full cut of this film has played a handful of times on Talking Pictures TV over the last year or two, though it still shows no signs of a DVD release on the associated Renown label.

The tale of four nominally 'juvenile' delinquent lads who break into a fairground supplies shop in pursuit of vicious kicks, only to receive a chilling comeuppance at the hands of Warren Mitchell's troubled magician, it mainly resembles a prototype episode of Tales of the Unexpected (complete with a creepy twist ending not unlike something from novelist Roald Dahl's The Witches). Despite some obvious padding included to bring it up to the usual one-hour second feature running time and thus qualify the film for the Eady Levy, it remains a compact little 'short story' that benefits from a genuine sense of mystery and from Mitchell's committed (if not always totally convincing) lead performance.

The quartet of youths are three ne'er-do-well Cockneys and a 'posh nosh' hanger-on, who bully courting couples and pick fights with nightclub bouncers before deciding to give Mitchell's 'The Great Dinelli' a lot of trouble for no reason other than their own boredom and mean-spiritedness. Though Mitchell initially appears cringingly terrified of the boys, he's actually the guardian to some seriously powerful supernatural forces, and it is of unleashing them that he is actually most wary. In this way, the film almost invites the audience to enjoy the eventual fate of the 'boys', which isn't really difficult given that they are well-characterised as genuine assholes, despite being very 'weak beer' by modern standards (remember the days when ASBO kids wore ties and jumpers? Eden Lake this ain't), and the perhaps slightly lacking casting. John Malcolm, who plays the titular gang leader Mickey, was around twenty-seven when the film was made but with his dopey trilby and chronically receding hairline he looks nearer forty (Malcolm continually calling Mitchell 'Pop' seems silly because the two men appear to be the same age - Mitchell was in his late thirties and despite playing a feeble codger, he doesn't really look any older than that). Other members of the gang will be familiar to Tom Baker-era Doctor Who fans; Christopher Robbie was the Cyberleader in Revenge of the Cybermen, whilst John Challis more notably played the nasty Scorby in The Seeds of Doom, although he's obviously much better known as Boycie from Only Fools and Horses.

Levy had a lengthy career in the movies, eventually working as a production manager on 1980s' A-pictures like Out of Africa and Cry Freedom. His only other movie as a director, however, was the Tigon stinkbomb The Body Stealers (1969), a film as lame-brained, unpersuasive and un-scary as Where Has Poor Mickey Gone? is quietly compelling and eerie. Another plus is Ottilie Patterson belting out a great little title track, but unfortunately, Where Has Poor Mickey Gone? didn't see immediate release following its completion and apparently only went out as support to Polanski's Cul-De-Sac in 1966, before vanishing from circulation for over thirty years. Now that it is back doing the rounds, if it turns up I'd advise that you try to catch it.