malcolmgsw I note that the budget for this film was five million pounds which was an awfully high budget for a British feature.I also note that the copyright owners were the National Film Trustees,in other words public funding had been utilised to make this pile of rubbish.I saw this film when it was released and the only redeeming features I noted were the cricket match and the fact that the film only runs for 86minutes.One can only assume that a recognised director managed to power through his vision.Probably working on the basis that the more abstract and indecipherable it is the more it will be lauded.Certainly one of the worst films I have seen on Talking Pictures.

Bribaba The backdrop to this startling tale is that bastion of English civility: the cricket match. Going to the wicket here are the staff and inmates at a mental asylum. Keeping score is a young intern and Crossley (Alan Bates) a man whose needs are special and very possibly insane. During the course of the game he describes to his fellow scorer how his life have come to such a pass. He claims to have been living amongst Aborigines for eighteen years, and to have learned to kill by shouting. In flashback we are taken to Devon where he takes up with a young rural couple (John Hurt and Susannah York) who are sceptical of this and most of his other scary stories. Unsurprisingly considering that, as narrators go, they don't come much more unreliable than mental patients.Thematically this is similar to The Wicker Man with its challenge to Christian beliefs, though it's much more layered and with less of a narrative thrust. Bates gives a performance of great power, rather then the quietly smouldering persona we are used to. Hurt and York are both excellent, particularly the latter as she succumbs to the madman's charms. Director Jerzy Skilomoski's takes Robert Graves' story at face value and introduces an east European art-film aesthetic into what could have been a Hammer horror. Like much of the best of 'British' - Withnail and I, The Ruling Class, Summer of Love and Skilomoski's own Deep End - The Shout benefits greatly from an outsider's perspective.

TheLittleSongbird Reminding me of the likes of the original Wicker Man in terms of style, The Shout is an unusual but very atmospheric film. While the story is compelling and very well-paced, there are some parts where it meanders slightly at the end where the film felt a little strange in its tone. Also the film is a little too short, I think the reason why the story meandered was to do with the attempt to wrap everything up before it was too late. And in regards to the DVD, the audio could've I agree been much better, it sounds a bit murky making some of the dialogue hard to hear That said, The Shout works in its atmosphere. The many moments that work are incredibly haunting, and the shout itself stuck in my mind for weeks. The Shout also looks very stylish, the scenery and costumes are wonderful, the lighting is appropriately bleak and the cinematography and editing add to the atmosphere without looking too slip-shod. The direction is very adroit and the dialogue is thought-provoking and very rarely over-the-top. The performances also help elevate. Alan Bates is brilliant, both John Hurt and Susannah York are perfect and Tim Curry is very effective in a smaller role.All in all, atmospheric and well done. 7/10 Bethany Cox

lost-in-limbo During a cricket game in the grounds of an asylum, patient Charles Crossley is telling a story to his opposite scorekeeper Robert. He tells of how he came across musician Anthony Fielding outside church one day, and he invited back home for dinner. Over dinner he tells Anthony and his wife Rachael that of his last two decades of living in the Australian outback, where he learned many spells from the aboriginal witch doctors and one being the shout. It can cause instant death when heard. Soon Charles settles into the homestead, where he has Anthony and Rachael under his thumb, as he fears him and she's infatuated by him.Weird, baffling and truly novel passes through my mind whenever I watch this sedately complex, courageous and alienating late 70's British experimental thriller. The way it has layer upon layer, goes on to ambitiously build a minor and gripping structure, which its inspired psychological strangle hold and mystical air takes shape as to how genuine the pieces are and if they do come together. Does it make sense? Well, it's hard to say what the bigger picture means, but it is indeed curiously haunting, daunting and truly unpredictable. The non-linear story and compact script chips away with plenty of cryptic messages inter-cutting the soft, dream-like touch brought on by director Jerzy Skolimowski. He gives the film such an hypnotic appeal amongst its arty brushes, where its swirling electronic score peaks in the right places and Mick Molloy's sublime framing emits elegant photography work. Those scenes involving the 'shout' are lethal, and only increase to the lurking eeriness created by top-notch sound FX. Visually the film has a powerful, isolated and lush setting that works with the story's spiritual and supernatural journey. The three lead performances are sensational, but it's Alan Bates who dominates the show with his startling and obscure turn as the tramp/patient. John Hurt as the downtrodden turned bewitched composer gives in a stellar performance and Susanna York, as his wife is also great. The talented Tim Curry shows up in a small, but effective role.Quite an unusual puzzle, which is strangely compelling, unique and very well made.