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"Unman, Wittering and Zigo" is a thoroughly peculiar and strangely uncanny gem from the early 70's Brit-movie industry; an era where lots of long-lost forgotten movie classics are still waiting to be re- discovered by cult fanatics. The film lacks explicit bloodshed or exciting actions stunts, but it thrives on ominous atmosphere, a solid and complex screenplay and impeccable acting performances. David Hemmings, perhaps the most shamefully underrated actor/director to come out of Great Britain, stars as a young and still ambitious teacher who enrolls in a strictly catholic male boarding school in the remote British countryside. He takes over class Lower 5-B since their previous teacher died in a most unfortunate accident when he fell off a cliff. When trying to bring some order and discipline amongst the rebellious young men and threatening to give them Saturday afternoon detention, one of his pupils suddenly states: "our previous teacher also wanted to that … and that's why we killed him, Sir". From that moment onwards, the students are provide more and accurate proof that they, in fact, did kill their previous teacher and scare Mr. Ebony into believing that the same might overcome him or his lovely wife Sylvia. Obviously no one believes him – not even his wife – and the pupils continue to push further their blackmail and menacing. "Unman, Wittering and Zigo" (the title refers to the last three names on the alphabetic list that Mr. Ebony runs through to see who's present in class) is a slow-brooding chiller with an immense claustrophobic power. By this I mean that director John MacKenzie manages to make it so obvious that nobody in John Ebony's immediate surrounding even suspects the pupils of anything, whereas he finds himself trapped in a isolated situation of fear from which he cannot escape. To everyone else, the pupils of class Lower 5-B are sophisticated and well-mannered young men and only their teacher knows that they're actually deeply disturbed and nihilistic psychopaths. There are a handful of truly powerful and perturbing sequences, including near the end with John's wife trapped in the school's gym, as well as a terrific use of the contemporary British life-styles and the remote setting. Unfortunately, the film also contains a few defaults, like a largely unsatisfying climax and some dead-end plot lines, but overall I would definitely say this is a gem well worth seeking out and treasuring.

Ok, it's not a big picture, but for me it was a once in a five years kind of thing. Air loaded with anxiety without the the ease of deeply understanding the motives or reasons of the characters. These psychological thrillers of 70's and early 80's are all about the feel - the poetical anxiety of not being safe or being able to find reasons for evil behavior. For me this genre is pure gold and nowadays rarely approached. Unman... is a nice find for a friend of this shivering era.

I came across this obscure and barely released film by chance,intrigued by it's synopsis. And like it happens with every buried treasure it was a revelation. Director John McKenzie, and cinematographer Geoffrey Unsworth, skilfully made this film into a close knit mystery with a bit of a disappointing ending which doesn't hurt the overall impression.

David Hammings is a new teacher at a boarding school who gets to teach a class from hell. Not by violence, but by sinister mind games,and subtle or not so subtle threats, they creep him into playing their game. What will happen is there to be seen. There is no need to explain why they are so twisted, there can be many reasons, and the boarding school system with it's rigid rules can be one of them, but than again, it may not be.This movie is not on DVD and it probably will never be, but mystery film buffs, if you come across this gem, be sure not to miss it.

The great David Hemmings ("Deep Red") stars as John Ebony, a former advertising man who's taken a new job as teacher at a secluded, coastal boys' school. His "form", or class, is Lower 5-B, and they're an unruly lot who don't take kindly to being told what to do. They also all tend to stick together. One of their first orders of business is informing John that they in fact murdered the man whom he replaced. He must "toe the line" regarding his treatment of them, or he WILL be sorry.

This wonderfully sinister, creepy sleeper has languished in obscurity for far too long. Based on a play by Giles Cooper, and directed with style by John Mackenzie ("The Long Good Friday"), it tells a compelling story with a nifty premise. It's easy to get hooked and wonder where it will take you; even though the answer to the burning question facing John is no great surprise, it's still devastating when you think of the reason *why* the murder of Mr. Pelham was proposed in the first place.

"Unman, Wittering and Zigo" (the title refers to the last three names on the roll call, although Zigo is always mysteriously absent) is able to get fairly explicit (there is some sex and nudity, but no real gore) while also not overplaying its hand in the portrayal of these very manipulative, self-serving students.

Well acted by all concerned, and infused with a great rural British atmosphere, this is one film worth checking out for the uninitiated - or re-discovering, if it's been a while since you've seen it.

Eight out of 10.

It's a very peculiar movie, which perhaps could only have been fully explained in semi-supernatural terms, although it never takes that step. The later sequences where murder seems entirely possible (particularly as they terrorize Seymour) are very unsettling. The movie is also a pretty effective exploding of the public school upper-crust ethos, depicting the boys as determined to get good university scholarships (perceived by them as the next thing to a divine right) while doing as little work as possible. That aside, it's not very ambitious or enormously distinctive - the portrayal of the school beyond the class itself is pretty vague and Hemmings' specific strategy - focusing on finding the ringleader - is fairly indistinctly plotted. Leonard Maltin's review refers to the actual killer's identity being revealed after closing credits but that wasn't the case in the print seen here (quite a let down, actually). The movie should surely have reached further into metaphor or broader meaning or SOMETHING. But even so, it kept me watching until 3.15 am one morning.