Les décimales du futur

The novel from which this movie was taken, The Final Programme, by Michael Moorcock, is structurally identical in plot and character to another Moorcock novel... Elric of Melnibone, the first of the Elric series.

This is not a coincidence; both books are part of the Champion Eternal cycle... a series of interconnected series about the Champion Eternal, who exists in every time and every universe, condemned always to fight -- and never know why he is fighting. He goes by many names -- Elric of Melnibone, Jerry Cornelius, Count Urlik, Prince Corum, each with his own series. In some incarnations he knows who he is, in others he thinks he's a normal man (occasionally, a particular incarnation is female). Sometimes two (or even three) incarnations meet each other.

The cycle, which makes up about a third of all Moorcock's ouevre (probably dozens of novels), is one of the most monumental achievements of meta-fiction ever written... but I think this is the only book of Moorcock's made into a movie, though he did contribute to the adaptation of the Edgar Rice Burroughs novel The Land That Time Forgot (dinosaurs on an island).

Now that Fritz Leiber is dead, Moorcock can lay claim to being the greatest living fantasy writer.

The movie The Final Programme (a.k.a. The Last Days of Man On Earth) does an incredible job of capturing the Jerry Cornelius character, much better than I would have expected. But the ending is changed from that of the book, and not for the better. Still definitely worth a rental.

Dafydd ab Hugh

A simplification - albeit a rather offbeat one - of one book in a series of novels by Michael Moorcock, "The Final Programme" may work better for people who haven't read the novel. Therefore, they can appreciate it for what it is, and not fret about what it isn't. This viewer admits that it took a while to grab hold for him personally, but it's just quirky enough and provocative enough to make for a reasonably entertaining movie. I would be surprised if it didn't have some sort of cult following by this point.

Jon Finch ("Frenzy") is front and centre here as the character Jerry Cornelius, a sardonic scientific genius living in a world on the possible brink of apocalypse. He gets involved in the hunt for some valuable microfilm. It contains a revelatory formula (devised by his late father) for creating a self-replicating human being, and possibly a new Messiah. Jerry must deal with a comely but conniving computer expert (Jenny Runacre, "The Witches"), and the machinations of his weaselly brother Frank (Derrick O'Connor, "Lethal Weapon 2").

The first-rate supporting cast includes Sterling Hayden ("The Godfather") in a brief cameo as a wheeler-dealer American major, Harry Andrews ("The Hill"), Hugh Griffith ("Ben-Hur"), the stunning Julie Ege ("Creatures the World Forgot"), Patrick Magee ("A Clockwork Orange"), Graham Crowden ("The Company of Wolves"), George Coulouris ("Citizen Kane"), Ronald Lacey ("Raiders of the Lost Ark"), and Sarah Douglas ("Superman" and "Superman II"). Finch is amusing as a protagonist who's always quick with the pointed comments, and Runacre is enticing as the woman determined to see her plan through. (She also has a tendency to *consume* her lovers.)

Complete with sex, nudity, action, and a bit of globe-trotting, "The Final Programme" also benefits from the striking visual approach by production designer / screenwriter / director Robert Fuest, whose other 70s feature films include the "Dr. Phibes" movies, "And Soon the Darkness", and "The Devils' Rain". Bizarre and stylish, it can get goofy at times, but it's definitely not boring.

Seven out of 10.

The early-to-mid '70's saw a glut of movies predicting a pessimistic future for Mankind; 'Soylent Green', 'No Blade Of Grass', 'A Clockwork Orange', 'Logan's Run', the 'Planet Of The Apes' sequels and this, based on a Michael Moorcock novel. Jon Finch stars as Jerry Cornelius, Nobel Prize winner, rock star and secret agent, who embarks on a quest to free his beloved sister from the clutches of his evil brother Frank. The world Cornelius inhabits is the Swinging Sixties writ large; recreational drug use, rampant sexual promiscuity, and lack of respect for authority are rife. Writer, set designer and director Robert Fuest had worked on the 'Avengers' television series, and it shows. The sets are dazzling, the supporting cast good, and despite its pessimistic theme the film manages to be fun. Jenny Runacre steals the show as the bizarre 'Miss Brunner', a freakish mutation who absorbs the bodies of her lovers. You really need to watch this to believe it. Funny, stylish and erotic, its a genuine cult oddity.

I saw the ads for "The Last Days Of Man On Earth" well before I could watch "R" films, but I was always wanting to see it. It dropped into a bit of obscurity stateside, and it was years before I found a copy. Shortly after I saw it, Anchor Bay issued the uncut original in limited quantities, and I managed to grab one.

well, the book is better. But Jon Finch is the perfect Jerry Cornelius, and this may be his best work. Jenny Runacre is every bit as good as "Miss Brunner", though her character doesn't quite embody the written character to the degree of Finch. Ron Lacey also shines, in a brief turn as the sun glassed assassin, "Shades", walking straight out of the books pages.

The low budget is disguised well, but the film needed a bit more for effects, relying on a lot of color tinting, sound effects, and old style inflatable "sculptures", to fill the screen.

Moorcock hates it, but this embodies the spirit that fueled "New Worlds", the science fiction magazine that brought Moorcock to the worlds attention, rather well, invoking much classic British entertainment of the recent past. The original cut is preferable, but "The Last Days Of Man On Earth" is a completely different edit of the film, not just a retitling. The differences aren't major, but the US removes everything that even borders on superfluous, with much minor trimming being done to almost every scene. In an odd parallel with "A Boy And His Dog", it follows the overall story arc acceptably, but adds a joke in poor taste to the conclusion, and many have found that alone, was enough to sour their perceptions.

It comes close to bringing Moorcocks world to the cinema, but isn't quite there. Here's hoping that someone might make another attempt.

An ambiguous adventurer becomes involved with an experiment designed to overcome the impending extinction of the human species. One from the "What were they thinking?!" school of film-making: much like John Boorman's contemporaneous ZARDOZ (1974), this is yet another good-looking but uncontrolled attempt at a 'trippy' post-apocalyptic scenario that ends up being embarrassingly campy – and, here, wasting a fine veteran cast (Sterling Hayden, Patrick Magee, George Coulouris, Harry Andrews and Hugh Griffith) into the bargain – none of whom appear in any scenes together. The main role of Jerry Cornelius had been offered to Mick Jagger (who rejected the script as "too weird"!) and Timothy Dalton before Jon Finch stepped in and basically stopped his promising film career dead in its tracks; in hindsight, it is understandable not only that novelist Michael Moorcock hated this adaptation but also that his prolific literary creation never returned in any further cinematic adventure since! For the record, the supporting cast also features Jenny Runacre (as Cornelius' supremely annoying androgynous acolyte), Graham Crowden, Ronald Lacey, Sarah Douglas and Julie Ege...but every earnest effort on anybody's part is stifled by the film's relentless visual and aural assault on the viewers' senses. Interestingly, the former is reminiscent of A CLOCKWORK ORANGE (1971) and the latter features Eric Clapton among the session musicians! When Roger Corman picked up the film for U.S. distribution, he not only trimmed it by 11 minutes but also retitled it as LAST DAYS OF MAN ON EARTH to (reportedly) little effect.