The Stone Tape

Yesterday I watched THE STONE TAPE (1972), by way of the BFI's R2 DVD. After reading some of the mixed opinions about the film here and elsewhere, I was a bit wary of checking it out but, being the Nigel Kneale fan that I am, I finally gave in and I'm very glad that I did!

I own a few of the 'classic' British TV films that have been made available on DVD, but I can safely say that THE STONE TAPE was the most satisfactory example I have seen so far; for the record, the others were - the enjoyable but somewhat pedestrian THE HOUND OF THE BASKERVILLES (1968) with Peter Cushing recreating his Sherlock Holmes role from the Hammer version; THE PICTURE OF DORIAN GRAY (1976), an overly-respectable adaptation (i.e. rather cold and as English as can be) but featuring superb performances from Jeremy Brett and Sir John Gielgud; COUNT Dracula (1977): ambitious, occasionally striking, competently acted but in no way superior to the classic film versions I have watched – and it's also overlong into the bargain; DELIUS: SONG OF SUMMER (1968), a fairly engrossing and surprisingly restrained musical biopic courtesy of Ken Russell but, again, not the masterpiece it's been played up to be; and, finally, just this week I have watched ALICE IN WONDERLAND (1966), certainly one of those I was expecting quite a bit from if largely because of its irreproachable all-star cast – but, unfortunately, while original and entertaining enough (the appropriately solemn but still lovely Anne-Marie Malick in the title role and Dick Bush's monochrome wide-angle lensing being big plusses), the overall experience left me somewhat underwhelmed! I also have Peter Watkins' CULLODEN (1964) and THE WAR GAME (1965) in my 'DVDs To Watch' pile.

Anyway, back to THE STONE TAPE: by 1972, Nigel Kneale was a renowned exponent of sci-fi/horror subjects, all of which clearly demonstrated that his concept of the supernatural was a metaphysical (and deeply intellectual) one. Here, as in 'Quatermass And The Pit', the phenomena that the characters (and we the audience) are dealing with is very ancient – conjuring subtle images of an invisible 'invasion' from within the Earth itself – and inherently evil. The 'twisted', vaguely discernible wraiths Kneale has created are far removed from the 'ghosts on a mission' we find in typical Hollywood fare (a recent example I have watched is THE CHANGELING [1979]) and what is interesting here too is that they connect to the many characters of the piece on acutely different levels – for instance, Jane Asher can see them while others are only able to hear them and then, at the other end of the spectrum, there's the assistant computer programmer who doesn't register anything at all! Another impressive and well-conceived aspect of the plot is how, in the film's very opening scene, the Jane Asher character has a premonition of her own death (drawing comparisons perhaps with DON'T LOOK NOW [1973]) as the blurred company sign and the truck's headlights are echoed by the 'apparition' of the malevolent ghosts at the climax. The ironic twist at the end (the obliterated age-old spectre being replaced by a fresh one) reminded me particularly of THE HAUNTING (1963), another film that has left me somewhat disappointed, and in fact Kneale himself conceded in the Audio Commentary (a relatively dry but ultimately rewarding affair) that he may have unconsciously been influenced by Shirley Jackson's original source novel for that film. But I find the characters of THE STONE TAPE more engaging than the rather bland (and tedious) quartet from THE HAUNTING – also, because as Kim Newman observed during his conversation with Kneale, the writer always took care to conceive a life for his characters beyond the fringes of the main story, thus effectively heightening its level of plausibility for the audience who is watching.

Like I said, the cast has been carefully selected for maximum impact: Michael Bryant (wonderful in a supporting role in THE RULING CLASS [1971]); Jane Asher (the lovely Francesca of THE MASQUE OF THE RED DEATH [1964]), here giving the performance of a lifetime; Michael Bates (very restrained in comparison with his turns as stiff British military types in PATTON [1970] and A CLOCKWORK ORANGE [1971]); and Iain Cuthbertson (as the company's long-suffering manager) are all completely convincing so that we cannot help but be emotionally involved in their plight – even Bryant's bossy, self-serving leader of the group feels nothing less than human (if a slightly pathetic one) for all that!

My appreciation of THE STONE TAPE has definitely made me want to purchase Nigel Kneale's other BFI disc, THE YEAR OF THE SEX OLYMPICS (1968), despite its only being available in black-and-white when the original production was filmed in color! Also, I would like to pick up the other 'Christmas Ghost Stories' titles (of which THE STONE TAPE forms part) – WHISTLE AND I'LL COME TO YOU (1968), A WARNING TO THE CURIOUS (1972) and THE SIGNALMAN (1976) – though all these films are rather too short (and the discs somewhat skimpy on extras) for their hefty price tag!!

A word also about THE WOMAN IN BLACK: I haven't watched Kneale's 1989 TV adaptation but, when my brother and I were in London last September, we went to a particularly creepy stage performance of the show (where one Japanese female member of the audience burst out screaming at several points throughout) and this was definitely one of the highlights of our stay!

"The Stone Tape" is a real oddity - how can a sci-fi/fantasy drama of this high standard go unnoticed for so long.

Transmitted at Christmas in 1972 and repeated the following year, nothing has been seen of this classic piece of TV until earlier this year when the BFI released it on both video and DVD.

Written by Quatermass scribe Nigel Kneale and directed by TV/film veteran Peter Sasdy, "The Stone Tape" is an example of all the elements working together to produce a masterpiece.

In brief, the story concerns a group of scientists staying in a converted manor house to carry out research into a new recording medium to replace magnetic tape. One of the analysts, Jill Greely, has visions of a ghost in the one room of the house the workmen refused to renovate. The rest of the team then set about surveying this ghost and come to the conclusion that it is the stone of the room which has captured the image of the woman and the presence of certain receptive people, namely Jill, has triggered its playback, hence stone tape.

This is a well written and well directed piece of fantasy drama mixing the right amount of moody lighting and music with Peter Bryant and Jane Asher's kitchen sink romance to create something instantly believable as well as disturbing.

TV favourites such as Iain Cuthbertson and Tom Chadbon are present to make up the numbers in the impressive supporting cast.

A spooky masterpiece - go and buy the video or if your budget will allow, the DVD for Nigel Kneale's interesting and revealing commentary.

The re-release of this, arguably Nigel Kneale's most effective piece of work, will hopefully give his underrated contribution to horror and science fiction another boost. Made on a low budget, with cheap sets, primitive audio and visual effects, and variable acting from a solid cast of British TV and character actors, it still intrigues all these years later. An original demystifying approach to psychic phenomena which still packs a punch even now. This is intelligent and spooky and a great example of the way TV can be used for this kind of story. Recommended to any horror/science fiction fan with an interest in the history of the genre.

BBC four showed a tribute to the great Nigel Kneale entitled THE KNEALE TAPES and followed it with a screening of the 1972 teleplay THE STONE TAPE . I enjoyed the profile but couldn`t help thinking I would have preferred seeing the groundbreaking 1984 or even QUATERMASS 2 but never look a gift horse in the mouth

I enjoyed THE STONE TAPE far more than I expected but there is a slight flaw to it - It`s highly derivative of Kneale`s other scripts from the past , especially his masterwork QUATERMASS AND THE PIT . Without giving too much away I was instantly reminded of the events of Hobs Lane with a terrified character running away and a minister turning up with a bell , book and candle

THE STONE TAPE does thankfully manage to stand on its own legs and works as a haunted house story . It`s also very clever even if it`s not amongst Kneale`s greatest work though some viewers may be put off with the unsympathetic characters especially Peter Brock , but remember Kneale`s not the sort of guy who paints people black and white . Director Peter Sasdy`s direction may be a little flat but that`s not really a criticism and he does bring a certain amount of atmosphere to the play , check out the scary title and end credits . My only criticism of Sasdy is that the acting is a little over emphatic , which strangely seems to be a problem with some of Nigel Kneale teleplays no matter who the director is .

But it`s still pretty good stuff from a time when watching television was a great experience ,and I`d be very interested in what people who have never seen QUATERMASS AND THE PIT thought of it .

And if you`re reading this Mister Kneale I`d like to say thanks for all the outstanding drama you`ve given us over the decades

An electronics firm sets up shop in an old country mansion, only to discover that one chamber is haunted. Company manager Peter Brock (Michael Bryant) decides to use all of their cutting-edge equipment to record the ghostly visitations, but computer programmer Jill Greeley (Jane Asher), who seems to be the most psychically attuned person there, thinks that they are meddling in something that they should not.

I've read that this ranks among the most well-liked British TV fright films. I always enjoy when a story brings together the worlds of hard science and the supernatural, and Kneale, the noted creator of the Quatermass stories, is one of the best at it. This is no exception, and the film's title has become shorthand for a certain type of haunting in parapsychology circles. However, the movie loses a lot of appeal whenever it deviates from the main plot and tries to throw in some corporate maneuvering. I also wasn't crazy about most of the performances, which were often played too big and on the verge of hysteria. Lead actor Bryant seems to shout 90% of his dialogue for no good reason. Still, haunted house fans should probably give this one a watch if it comes there way.