VicTheDaddy Dennis Potter never made a drama that never had a point,its just that his work was so deep the point of his dramas wasn't always obvious,in fact you felt you needed a high IQ level to get your head around his work.The important message of this film is that we shouldn't always be so trusting towards strangers,especially ones who seem so angelic they may have ulterior motives and in this case he did.How many cases have there been where the mentally handicapped have been abused by their carers,its not that often but its enough.Plus cases of the elderly go into nursing homes and end up being shoved about,i think he was making a very strong point.Stings character was a wolf in sheep's clothing,i think in the original version he was played by Micheal Kitchen,who i feel played the part better,the original version has only been on TV once as it had been banned,and may still be.The original version does put the point across better,i feel the remake lacks this, probably because Sting whose much more well known as a singer wasn't a good choice,it just made the film seem bizarre,people went to see this film purely to see what his acting was going to be like,so the point of the story sort of got lost.Dennis Potter was quiet ingenious, he never made a controversial film for the sake of being controversial,there was much more to him than that.Although i must admit its a pretty disturbing film,not one you would easily forget.

copeland-1 Though Sting was cooler as the Ace Face in the movie Quadraphenia, this film was certainly unique as it cast the 32-year old Sting in the role of the devil. The rape scene of Patty was disturbing to say the least but what do you expect from the devil? Most memorable is the soundtrack which I have yet to find on CD format. A notable track is "Only You" which features Jeff Seitz, Stewart Copeland's drum tech on drums. This track was also listed in the liner notes of the Police's '93 box set as being included in the 4-CD set but it wasn't! Nor was the instrumental "Light Changes" from their movie "Around the World" but I digress. Brimstone and Treacle was a dark film and spawned the video for one of its tracks, "Spread a Little Happiness". The video is bizarre as it features Sting in clerics serving tea to a bunch of church ladies. Yet at the very end of the video, he turns to look at the camera and his look is so demonic, so piercing that it actually gave me a fright. If you see the video, you'll understand.

rufasff This film was never around much at the time of it's release dispite some good word of mouth. It is pretty well brought off in every way, but leaves one feeling one has seen a rather more obvious version of Pinter with then trendy rock and an even more pronouced lack of point. Sting holds his own surprisingly well with his classy co-stars.. It's Potter's heavy handed irony, admittedly popular, that just tires you out.

Henrik Nameless A brainchild of Dennis Potter, grand purveyor of the kind of surreal, darkly-comic TV landmarks that set out to shock the system, the public, and the finger wagging likes of Mary Whitehouse et al, comes the surreal, darkly-comic but not quite landmark 'Brimstone and Treacle'. Much like the Alan Clarke/Roy Minton borstal set drama 'Scum', 'Brimstone and Treacle' began its life as part of the BBC's revered and highly popular 'play-for-today' series. However, when auntie Beeb and the powers that be took a look at director Barry Davis' rough-cut, the vision of a Pinter-esque fallen-angel despicably conning his way into the home of a middle-aged couple and their handicapped daughter, who he eventually rapes, was just too much for the woolly-jumper, Wogan worshiping suits at the beeb -- who banned it outright before it's proposed airing back in nineteen-seventy-six. The script, we presume, then lay at the bottom of Potter's desk drawer whilst he busied himself with something called 'Pennies from Heaven' (classic BBC musical drama with Bob Hoskins, later given an MGM make-over starring Steve Martin and Christopher Walken), eventually resurfacing in this cinematic incarnation, with direction from Richard Loncraine, and starring (of all people) former Police front-man Sting. The casting, which should be crucial to a piece like this, seriously fails here, with the sight of the (then) reggae-influenced pop-star swaggering about the screen like Billy Idol's freakish younger brother, emitting a feeling of true disappoint -- especially when compared to the detailed characterisations of Michael Gambon's Philip E. Marlow in 'The Singing Detective' or Albert Finney's Daniel Feeld from 'Karaoke'. And if his camp-theatrics aren't bad enough, surely the sight of his bare-buttocks wriggling atop a frontally nude Suzanna Hamilton is as embarrassing for the now 'serious artist' as it is for the disconcerted viewer.Thankfully the supporting cast are exceptional, both Joan Plowright and Denholm Elliot (who reprises his role from the original version) give the film a touch of old school charm, whilst Hamilton pulls off the embarrassing task of playing mentally retarded with a willing confidence. It's a shame the producer's decided to go with the "bankable" choice of Sting in the lead, because at its very core, 'Brimstone and Treacle' had the potential to be one of Potter's strongest work. It sadly falls somewhat short, and admittedly, it's not all Sting's fault. Although there are many familiar Potter trademarks, notably the use of thirties music -- used hear as bookends -- conjures up memorable images of Marlow crooning along to Vera Lynn in 'The Singing Detective', but the elements just don't gel. The golden oldies seem to grate, especially when coupled with contemporary artists like Squeeze, The Go-Go's and (of course) The Police -- something which would seem to signal a conflict of interests between the writer and director's distinctive sensibilities.Potter hints and psychological guilt, and sexual repression, but looses the TV play's strongest metaphysical link somewhere in the celluloid translation. In the original, Hamilton's character Patti comes home early to find her father in bed with her best-friend, forcing her to run into the street in disgust, where she is hit by a truck. For the film, Potter has opted for the more conventional playing away with the receptionist routine, turning the proceeding events into a conventional tale of guilt, rather than the implied oedipal fear of paternal molestation that is a constant foreboding in the original work.What we have instead is an almost-pastiche of Hammer horror movies and a somewhat condemnation of organised religion as a whole. There is the lack of faith in the guilt ridden Mr Bates that is countered by the caring of the maternal (but blinkered) Mrs Bates, who spends the film spouting reactionary quotes to her husband's claims of "There is no God" with the likes of "I'd sooner be dead than think like that"... is there a message here? Or did Potter simply have his knickers in a twist. Admittedly this is one of his more self-consciously shocking works, and nowhere near as enjoyable as later productions would prove to be, but thankfully there is at least a spark of imagination, something that is lacking in current British film. 'Brimstone and Treacle' may be Potter-lite, but it's certainly worth a look.