Customer Reviews

4 Reviews
5 star:
4 star:
3 star:    (0)
2 star:    (0)
1 star:    (0)
Average Customer Review
Share your thoughts with other customers
Create your own review
Most Helpful First | Newest First

16 of 20 people found the following review helpful
5.0 out of 5 stars This road should be highlighted on more maps., 28 Feb 2011
Verified Purchase(What is this?)
This review is from: Private Road (BFI Flipside) ( DVD + Blu-ray) (Blu-ray)
PRIVATE ROAD, written and directed by Barney Platts-Mills, is as I suspected, better than it at first seems. It's a month or two since I first saw it, but certain images recur...are quietly haunting. Though some obvious things date it (mostly perhaps the music) in other ways despite its strong sense of period, it seems strangely timeless. That could be because aspects of it are, like the "I see a boy running barefoot over fields..." story from the brilliant NIGHTMARE ALLEY (1947), universal, and if well enough told (and the naivety/naturalness of some of the acting, or perhaps presentation, here, adds to this) can echo with everyone's memories, emotionally if not literally.

At first PRIVATE ROAD seems pleasant but inconsequential when contrasted to so many other more dramatic stories, but it's this very lack of overstatedness that gives it the truth beyond its surface. As always, this truth in films is made up of so much more than what the characters do or say, or what the story does or says. It's as much in the landscapes and rooms and in all the moments inbetween - and to really work must stimulate our own memories and dreams, past, present and future. All of which is precisely what most films, indeed most art, so signally fails to do.

Susan Penhaligon, despite the obvious shortcomings of her character remains largely sympathetic, but it's Bruce Robinson's weak but very appealing, good naturedness, that holds the film together. It is interesting to see the obvious parallels with WITHNAIL & I - a film that despite its deliberate overstatedness also succeeds in carrying a strong, though to my mind ultimately melancholic and self-protectedly cynical, charge.

The extras on this dvd are ST.CHRISTOPHER - a wonderfully vivid documentary and THE LAST CHAPTER, a silly but enjoyable short film with Denholm Elliot and Susan Penhaligon again - you can't have too much of Susan Penhaligon! There's a very nice booklet as well. Highly recommended!
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No

7 of 9 people found the following review helpful
5.0 out of 5 stars a forgotten masterpiece., 3 Dec 2011
digit "digit" (London, England) - See all my reviews
This review is from: Private Road (BFI Flipside) ( DVD + Blu-ray) (Blu-ray)
I first saw this when I was 17 or 18 in the mid-eighties, late night on Channel 4, since which time it's felt as if I dreamed it: a funny, intelligent, alternative movie made for buttons in the UK -- Indie before the letter by 20 years and not from America. Who knew? Practically no one, it seems. Like so many of the BFI's recent heroic rescues, this appears to have been in danger of total omission from the textbooks, leaving the official story artificially anaemic.

As other reviewers have noted, it's probably best not to add much to the official plot summary, but that still leaves plenty to talk about. First off, and more to get it out of the way than anything else, there seem to be interesting relationships to certain French films. Bruce Robinson's character, Peter, is reminiscent of Jean Pierre Leaud's Antoine Doinel in Truffaut's BAISERS VOLE and DOMICILE CONJUGALE, with both characters harking back to earlier heroes of silent comedy and neither suffering by any of these comparisons. (There are also thematic similarities with the film Leaud made with Jean Eustache two years after Private Road, LA MAMAN ET LA PUTAIN.)

Visually, the film looks very like Eric Rohmer, the same wide, full figure shots of characters in ordinary, un-set-dressed rooms and streets, static frames, occasional almost imperceptible pans, naturalistic colour and light and, above all, the same pleasure in the every-day that has the power to heighten your perception of and pleasure in your own life.

Having made the French comparison, I'll also make one with the American mainstream: for anyone caught up in the esoteric mysteries of screenwriting, this is a masterclass in breaking the Syd Fieldian rules; essentially, there's no arc. The characters are not awkward propositions saved by love, it is not clear to us or to them what they want, they do not learn much if anything; yet the story does go somewhere and with a naturalness, or a brilliant impression of naturalness, that should make the mechanical, form-filling scriptwriters of so much recent mainstream fare ashamed of themselves. That said, perhaps my ideal double-bill match for this would be an American movie, the equally idiosyncratic and similarly rare BREAKING AWAY.

Finally, given the lead actor, there's also some fun to be had with the WITHNAIL comparison. How much was Robinson influenced by this when he came to make his movie set in the same era just over a decade later? Overlaps abound. At least one of Robinson's lines here -- 'Trust him to be in the bloody herbacious border!' -- could have come straight from the later movie. Platts-Mills' is known to have used improvisation, so maybe Robinson actually authored this.

But so much for the parallels; the film is really sui generis. A lot of its uniqueness seems to reside in its Englishness, a peculiar sort that tends to get lost among the working and upper class depictions that still dominate UK cinema. The young protagonists were still recognisable to me as a teenage Londoner in the 80s and even have equivalents in the much harder London of today, yet this is the only time I've seen these types on film. Their collective character, matter-of-fact, unshow-offy and un-macho, given to laconic wit, not so much opposed to convention as honestly, wryly bewildered by it, is also the character of the film. It seems to meander as the characters do, apparently unconcerned with plot points and jokes, but deftly delivering both to lead you to a conclusion both very funny and quietly touching.

I've never seen anything else like it. Why isn't it better known? Probably because a prophet is without honour in his own country and era, especially one so softly-spoken. Or, to put it another way, real individualism does not shout and thereby runs a genuine risk of going unnoticed. But perhaps eventually, thanks to the BFI's release, this will come to be recognised as the great work it is.


The little film not by Platts-Mills, THE FINAL CHAPTER is, as a previous reviewer said, nothing special, but it's worth noting that one of its authors is the usually more interesting novelist John Fowles and that, for a feminist attack on Ian Fleming, which it seems to be, it's got an awful lot of topless shots.

Platts-Mills' ST. CHRISTOPHER is a beautiful film, the kind of documentary the British used to do uniquely well: simple, carefully observed, humane and quietly radical in its overturning of our assumptions -- here about mentally handicapped children and their care -- with an underlying, deeply serious faith (of the kind neoliberals have spent the last 30 years undermining) in the human capacity to make a better world. I cried a little.

A final note: Now that this is out I'm hoping Flipside will deliver another hippy era film also shown on Channel 4 around '85 or '86, about a slightly deranged character trying to make a film among the the drop-outs and freaks of early 70s London. Anyone know the film I'm talking about?
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No

6 of 9 people found the following review helpful
5.0 out of 5 stars A wonderful, real movie., 22 Aug 2011
This review is from: Private Road (BFI Flipside) ( DVD + Blu-ray) (Blu-ray)
All throughout Private Road I kept thinking "I have been there." Not in terms of geographically being where the characters were, but emotionally. The events and characters in this film are so true and so real without having that usual "Oh, this is TOO real, I'll turn it off."

I can't really say anything without spoiling the film, and I have gotten used to the fact of never hearing anything, good or bad or anything about the contents of BFI DVD/Blu-ray packs that I just order it and watch it with fresh eyes - not having any previous experience with the film, and that's it what you should do to.

Buy it and experience Private Road. It's certainly in my favourite films. Of course, the usual booklet and DVD and Blu-Ray copies are provided which provide some great background into the film. Highly, highly recommended.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No

4.0 out of 5 stars Great film. Well worth it, 1 July 2014
Verified Purchase(What is this?)
This review is from: Private Road (BFI Flipside) ( DVD + Blu-ray) (Blu-ray)
Great film. Well worth it
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No

Most Helpful First | Newest First

This product

Private Road (BFI Flipside) ( DVD + Blu-ray)
Private Road (BFI Flipside) ( DVD + Blu-ray) by Barney Platts-Mills (Blu-ray - 2011)
In stock
Add to basket Add to wishlist
Only search this product's reviews