duncanrgunn

Hilariously bad on all levels, Castle Sinister (even the title is a stinker) is a romp through how not to make a film.

The screenplay, none of which is synced making for some bizarre editing decisions, is unerringly dull and is delivered by the cast in the style of a first run-through at the local am-dram society. The plot is, on one level mundane and simplistic, but also so bizarrely told that every so often we are lectured to by a character, and even an unexpected narrator at one point, to keep us up to date.

The ensemble actually have a special talent in being so wooden, each and every one of them. The edit is so tight that the 'action' command is almost still ringing in the air at the beginning of each scene.

The lighting is weird too. You'd bet on most scenes being in the dead of night until the characters step outside to find it's broad daylight. And then there's the continuity. Close-up of a left hand grabbing a revolver; cut to the character holding it with their right hand. Brilliant.

Well under an hour long and thoroughly enjoyable in its badness.

I watched this on my BFI subscription and, after a couple of minutes, was wondering if it was going to go anywhere other than the artful cinematogrophy. I'm so glad I kept watching because, very soon afterwards, as soon as Georgie and Ali are introduced to us, and as soon as I heard the first lines of script, it was evident that this was special.

What stands out about it? Well, on the surface, the cinematography, acting, script and, of course, direction, is not only individually outstanding but is also cohesive. In the background, the sound, music, production design are all major factors in making this film so special. The colours are incredible.

The script is clever. It's playfully minimal (is that a thing?) with some choice lines. The range of close and wide shots gives the actors a many possibilities to play with, which they do with aplomb.

It's a film about adversity, loss, trust, and love...maybe in that order too.

Now I can see where Harry Enfield got some of his inspiration for his parodies of wooden, black and white performances. The first scene is hilariously bad; each actor reading their lines as if no one else is in the scene. The film carries on in the same vein, punctuated with the relief of plenty of classic British slapstick. I can imagine the wartime audiences guffawing in their cinema seats. The odd dose of patriotic optimism grounds the film in its time.

The film restoration is excellent with clear picture and good sound.

For a modern audience, the terrible acting makes this all the funnier and it's an enjoyable watch.