The bright spot in his otherwise miserable existence is the daily banter with Fran Kubelik (MacLaine), the best elevator operator in the office building where he works and whom he secretly pines for. Bud finally gets a meeting with J.D. Sheldrake (MacMurray), head of the personnel department. He thinks that it means a promotion, which it does, but Sheldrake is like all the other executives that Bud deals with – he just wants to use the apartment. However, Sheldrake’s date is Fran, much to Bud’s dismay. These three people form a rather unlikely love triangle as Bud has to get his priorities straight – what’s more important to him: Fran or his job?

Nobody does neurotic desperation quite like Jack Lemmon who plays Bud as a bundle of frayed nerves. He does a good job conveying how the increasing demands of loaning out his apartment are taking its toll on Bud’s mental and physical well-being. Wilder conveys this through moments like the shot of a miserable and lonely Bud sitting on a park bench during a cold, windy night or the shot of Bud waiting outside a theater alone for Fran who will never meet him for that night’s show. As a result, your heart really goes out to Lemmon’s tragic character.

On the surface, Fran is a bubbly, vibrant personality but underneath the surface, Shirley MacLaine reveals a deeply unhappy woman. Fran is involved with a married man that continually disappoints her and doesn’t really love her. MacLaine not only has excellent comic timing and a knack for rattling off witty dialogue with the best of them, she also excels at the darker aspects of the film, like how Fran swallows her hurt feelings in front of Bud. She acts pleasant towards him but how Fran really feels is conveyed in MacLaine’s eyes. She delivers a heartbreaking performance that is almost painful to watch at times.

Fred MacMurray was known mostly for playing decent characters in various films and television shows but director Billy Wilder was unafraid to cast him against type in films like Double Indemnity (1944) and The Apartment where he plays the thoroughly unlikable Sheldrake, a man who wants to have his cake and eat it too. You hate MacMurray’s character for how cruel he is to Fran, stringing her along with pipe dreams of divorcing his wife and running off with Fran – something he has no intention of doing.

Like many of Wilder’s comedies, The Apartment has a dark underbelly in sharp contrast to the madcap antics but perhaps this film is a little darker than the others. It’s a romantic comedy set during the Christmas holidays but one that is infused with moments of sadness and tragedy, featuring two deeply unhappy people that could find happiness with each other if only they could free themselves from their messy personal and professional lives.

Special Features:

MGM has delivered a nearly flawless transfer on Blu-Ray that really shows off the textured black and white cinematography making this worth the upgrade from DVD.

Film historian Bruce Block provides an informative audio commentary that mixes filming anecdotes with an in-depth analysis of the style of The Apartment and how Wilder’s composition of the frame, including placement of actors, influences our empathy towards their characters. Block also quotes from the screenplay on this solid track.

“Inside The Apartment” features the likes of actress Shirley MacLaine, executive producer Walter Mirisch and others reflecting on the making of Wilder’s film and its enduring legacy.

Also included is “Magic Time: The Art of Jack Lemmon,” a 30-minute featurette that is a touching tribute to the great thespian from the likes of actor Peter Gallagher, director James Foley and his son, Chris. They all recount wonderful anecdotes about Lemmon that illustrate what an honest, generous man he was both professionally and personally.

Gill: Okay first question, and quite an important one – do you like cheese in real life?

Simon: Ooh (laughs). Who doesn’t like cheese in real life? One of the script writers actually said to me have you ever met somebody that doesn’t like cheese? I was like no, do you know what, I haven’t. It’s just one of those things you don’t not like.

Gill: No, I know. I think I’m the same. I’ve not met anyone that doesn’t like it (laughs).

Simon: So yes I’m a big cheese fan.

Gill: Okay, so the film’s about James, a sort of misfit character – could you pick up on or relate to anything from when you were at school or something like that, to be able to draw on for the film?

Simon: Totally, if only I could answer that question Gill and tell you I couldn’t relate myself to anything and it was a complete… that I had to resort to other people. Sadly, I think there are moments I think in everybody’s life when you just… you know when you just really mess things up?

Gill: Yes.

Simon: And at school, and perhaps in the modern day, more recently… I am one of these wrong place wrong time people. You know, I would literally just open my mouth, its things, it often bad luck, just bad luck things really. What are the odds of me doing that? But no I’m afraid that’s me all over wrong place, wrong time.

Gill: I know the feeling.

Simon: Yes, it happened to me once on a date you know, I took a girl out when I was at school, my first date. I was 16 – terrified, obviously.

Gill: Yes, sure.

Simon: You know there was a lot of pressure on this first date, it took me six months obviously to ask this girl out on a date with me, who clearly wanted to go out within a month. I got on to this first date with her and went to the cinema, got the coke and the popcorn and I literally spilt it everywhere because I squeezed the cup too hard. I literally spilt the entire coke and the popcorn on top of her.

Gill: On top of her (laughs)!

Simon: And at the beginning of the film, we had just gone into the theatre, bless this girl. She obviously sat there like that for two hours and watched the movie because she didn’t want to leave. You know, on your first date at 16 get up and leave and say look I’m so sorry. Obviously we dabbed her down with tissues and stuff like that.

Gill: Yes.

Simon: Worst date ever and you can imagine what my nickname at school was after that! But anyway it was one of those things I thought I’m never going to recover from this. But anyway I got a bit chewed up about that date, never mind that I messed it all up!

Gill: (laughs) yes. Did you see her again?

Simon: Yes. Well no, I saw her in school on Monday which was the awkward thing.

Gill: Ooh (laughs).

Simon: At which point everybody in the whole year knew the story, laughing, ha-ha very funny.

Gill: Yes, it’s never the good things that get around is it? It’s always the bad ones.

Simon: Yes exactly.

Gill: So what appealed to you in this film? What made you want to make this film?

Simon: I tell you what – I must be brutally honest. I’d done a lot of things beforehand like gangster films, crime films or something along those lines and the idea was to wear a leather jacket and look as cool as possible, and this film is so not that. They were like… you know, I’m a prankster and I must admit I do enjoy messing things up. And literally the director of Jack Falls, which was the last serious film we did, was the same director of another film and he said I need to get you in a comedy mate, you’re wasted on this.

Gill: (Laughs)

Simon: Honestly the idea was just to be as stupid as possible and get paid for it really. Awkward.

Gill: Yes, yes.

Simon: Sort of my dream job and with a bunch of people as well, a bunch of awesome people, I don’t know… like Richard E Grant you know, Jeridan Smith, Gemma Atkinson and Craig Conway.

A right set, just winding each other up all the time.

Gill: Yes, did you get to see much of Richard E Grant?

Simon: Yes, for about a day actually, we did a little bit together. It didn’t actually make the cut, but anyway, I had to be there to take some of the photos that they had to have of me and him together. I mean he’s just a wonderful guy, he obviously takes it really seriously. Whereas I’m a bit more of a joker, he thinks of things a bit more and is reserved, but he just embodies those kind of things and he loved it.

Gill: Okay great! Lovely, thank you. I was actually going to ask you about Jack Falls and some of the more action type films that you’ve been in. Which sort of genre do you prefer then after doing this film?

Simon: I prefer the comedy, I must admit. There’s nothing like it, I have so much fun when I’m on set, normally because on long days you need to, but on a film where that’s what your trying to get on film as well, it’s so much more helpful. Because you know everyone’s there with the same thing, but it’s very difficult to do that. I did a film last year called Ghosted which was a prison drama, which was about men getting raped in prison; it’s so hard to have fun on that set.

Gill: Yes, I bet!

Simon: You know, the experiences with the director was great, but it was kind of… everything was really heavy every day. Whereas with this film we went to work and they would keep the cameras rolling and say just be as funny as possible and don’t worry you can’t look too stupid. It was just a better energy to come to work with. You know last year I did something with Mark Hamill who was from Star Wars…

Gill: Right.

Simon: It was a complete dream, it was a film set on an aeroplane…

Gill: Oh right, was that Airborne?

Simon: Yes Airborne, that’s coming out later this year. And then Dom gave me he a job. He was lovely – he’s going to be on commission soon. He put me in this other film with Jean-Claude Van Damme you know.

Gill: Oh yes.

Simon: These action stars, you know like Luke Skywalker, all people I grew up with. So I do love doing some of the other stuff for different reasons.

Gill: What was it like working with Mark Hamill?

Simon: Oh Mark’s brilliant, he’s an absolute gentleman and just so down-to-earth he really is, it’s just amazing. I get lost, every time he’d be doing a scene I’d be like ooh Luke Skywalker!

Gill: (Laughs) Yes!

Simon: And I’d loose it and be like sorry mate I totally got held up, but you couldn’t not be like that. Every time he’d have this glint in his eye and be like Luke Skywalker.

Gill: Yes, it takes you back to the films…

Simon: …and he loves films, all things film. Not just ones he’s in but other ones too. He brings it up. He’d be like ‘hey you want to hear a great Harrison Ford story from Star wars?’ I just died.

Gill: Of course! Okay, so what do you think was you favourite part of How to Stop Being a Loser, were there any scenes that stuck out for you?

Simon: I really enjoyed everything I did with Gemma Atkinson and Craig Conway, I had a fantastic time with both of those guys. All my scenes with them were as fun as it seems. I must admit the thing that makes me laugh – and it’s not usually me on screen – I’m not that vain unfortunately… my favourite scene has got to be Stephanie Leonidas and Gemma Atkinson, the bit where she throws… have you seen the film?

Gill: I have yes.

Simon: You know when she throws the photo out of the frame?

Gill: Yes, yes.

Simon: And Steph says ‘yes that’s his dead best friend’, and Gemma Atkinson says, ‘oh I didn’t know he was dead’! And Steph has to remind her that she was at his funeral! It gets me very time. I don’t know what it is, but it gets me every time. Colin the psychiatrist… someone asked me what the funniest part in the film was and I said Colin.

Gill: Yes, that was a fantastic twist at the end!

Simon: I knew it was coming obviously, but the performance of the whole movie just gets weirder and weirder as it goes along. It’s hilarious because I know the punch lines as well.

Gill: Yes, you sort of think at the end: I should have guessed that as it was going along!

Simon: Yes I mean in the film that’s the biggest, longest joke because it’s the cheesiest from beginning to end.

Gill: Yes, because in the scene where Gemma Atkinson throws the photo away, she keeps referring to Patch as Pitch over and over again…

Simon: Loads of little things come up on set like that. Dom was great in that way. You’d get the script and he’d say you can throw the script out the window if you want if something funnier comes up on set. It’s kind of liberating if you can think of something better that isn’t written down and go with it!

Gill: Yes it must be a nice way to work. So do you think there will be a sequel so we can see what happens with James and Patch?

Simon: Yes there are talks of a… erm, I’m not sure if I’m supposed to say it! I know the outline for a sequel, yes.

Gill: Oh great! That would be lovely.

Simon: It might be called Little Losers, I don’t know if I’m supposed to say that. A pregnant Gemma Atkinson.

Gill: Oh great! It all kicks off again.

Simon: Yes, we’ll have to wait and see what happens with this one but I do know the outline for a follow up.

Gill: Oh that sounds brilliant. Okay, so you’ve talked a bit about working on Airborne with Gemma and with Dominic again as director. Have you got any future movie plans? Maybe with them as a team or something else?

Simon: We’ve mentioned UFO and Airborne. I’ve got this hilarious project that you’re going to laugh at in minute, which we finished last year called Strippers Vs Werewolves. It’s a completely ridiculous concept, but I didn’t have to say ‘can you sent me a script?’ – you either got instantly on board or you didn’t.

One of my dearest friends Martin Compston had a small sort of role in How to Stop Being a Loser. He’s kind of the lead in Strippers Vs Werewolves, so he got me involved. So I sort of said thanks. But it was nice to make the link between the two.

Gill: Oh right great, that sounds pretty brilliant, something to look out for. Did you have any strange or funny experiences on the set of How to Stop Being a Loser or anything else that you can recall?

Simon: You know it was just one of those sets where unfortunately everything was funny every now and then and I always admired Dominic as I don’t actually know how he worked with us bunch of idiots really! Because I always expected him to turn around and say guys please but he wasn’t like that, he would instigate some of the pranks that were to happen and stuff like that. So you know what, there wasn’t… I mean there was nothing that stood out on set because everything on set was strange (laughs). It’s like odd stuff next to normal things that you think is really weird. But no there was nothing particularly strange on set.

Gill: You can see that in the outtakes. You can sense that some directors get really tense and angry about it and just want actors to stop and get on with it, so that’s nice that Dominic let you enjoy it.

Simon: Dominic’s voice is one of the first you hear laughing. You would expect him to be like ‘come on guys’, but he wasn’t like that at all. You know, he’s on the nose with comedy and I hope he does get the option to do another one. I know he’s doing more serious stuff at the moment but I do hope he gets back to comedy. It was by far the best set up.

Gill: Oh yes, that’s brilliant. Obviously the film’s coming out on the 6th February so it’s a perfect Valentine’s Day film. Have you got any Valentine’s Day tips for the perfect day?

Simon: Great tips? I suppose not to go anywhere near Dominic Burns or Craig Conway!

Gill: (Laughs)

Simon: If I see either of them two on Valentine’s Day I’m going to know things have gone kind of wrong in my life so…

Gill: It would spoil the mood?

Simon: I would advise people to avoid them to be honest, I think that’s the sanest advice I could give anybody.

Gill: Okay, brilliant. Well thank you very much for talking to me it’s been really interesting!

Simon: No problem, bye!

In the film’s opening sequence, Michael Keneely (Gould) and Patrick Farrel (Blake) bust a high-end hooker named Jackie Faraday. Keneely is the smirking smartass while Farrel is the tough guy. These guys are a tad unorthodox as evident by the way a routine undercover assignment in a gay bar erupts into chaos when one guy (Fargas) gets too fresh with Keneely. The Faraday bust seems like a pretty open and shut case until their boss tells them that she got released thanks to a phone call from someone with juice.

Something about the hooker case doesn’t sit well with Keneely and when he checks out Faraday’s client book after it’s been entered into evidence he notices it’s missing all the pages with her clients. Naturally, the case is dismissed for lack of evidence and the two vice cops know something is rotten. They decide to pursue it further by digging deeper despite the opposition that mounts, including smug local crime boss Carl Rizzo (Garfield).

Elliott Gould and Robert Blake make an intriguing team with their contrasting acting styles. During the ‘70s, Gould epitomized disheveled cool and continues that look with the bushy mustache, unkempt hair and rumpled attire that he sported in Robert Altman’s M*A*S*H (1970). He adopts a laidback attitude and is always ready with a joke. Much like his take on Philip Marlowe in Altman’s The Long Goodbye (1973), Gould’s cop treats everything as a joke on the surface but underneath he cares about doing his job, especially when it comes to the corruption he and Farrel uncover. In contrast, Blake, with his tight t-shirts and muscular build, is all intensity and no bullshit attitude. They play well off each other and adopt a shorthand that makes them believable as long-time partners. They have a nice scene together in an empty bathroom where their characters reassess what they’re doing and if they should continue to pursue a case where the odds are clearly stacked against them.

Journeyman cinematographer/director Peter Hyams has had a checkered career with the unnecessary sequel 2010 (1984) and generic thrillers like The Presidio (1988) littering his filmography but Busting may be his best film. He does an excellent job juggling the shifting tones throughout, bouncing back and forth between comedy and drama. Hyams adopts long takes during the action sequences that are very effective and come across as refreshing in this day and age where action films are so heavily edited. For example, there is a sequence early where Keneely and Farrel chase three crooks through an apartment building, on the street and engage in a tense gun battle in a crowded farmer’s market that is comprised of a series of uninterrupted long takes. Unlike William Friedkin’s edgy hand-held camerawork in The French Connection, Hyams employs smooth, gliding tracking shots and yet still manages to convey an urgency and excitement during the action sequences. Hyams is one of those Hollywood filmmakers able to adapt to prevailing trends. With Busting, he made a gritty ‘70s buddy cop film and then more than 10 years later made the kind of buddy cop film that was popular in the 1980’s with Running Scared (1986).

Special Features:

Theatrical trailer.

Gill: Just wanted to say I watched the film last night and it was absolutely hilarious, it’s a really really brilliant film.

Dominic: Thank you very much Gill.

Gill: You’re welcome. Just wanted to ask what was it like directing yourself in your movie because I know you starred in it for a bit?

Dominic: I have always found it quiet tricky directing myself. I always say I try not to give myself any big roles, have more of a small fun role.

I was aware that as long as we were kind of having fun and a lot of the material was improvised and as long as we were in flow of it we would get away with it. But genuinely speaking it is difficult, I wouldn’t ever consider putting myself in any leading role and directing myself. So yes it’s quiet tricky.Theres no partial technique that I use, and also I just lean on the team around me and just make sure everyone else is feeling it as well. It’s always a collaboration with it being an independent film.

So yes as long as I was feeling it and everybody else was feeling it, we just went along with it and sort of went with it.

Gill: It really comes across that everyone seems to get along really well, so quiet a close knit team.

Dominic: I mean independent films are always really, really difficult but we did really have some fun on that one, it was great. It was good fun.

Gill: So was it purely because you got on so well with everybody that made you want to sort of be in it as well as sort of direct as well, you know get involved with that fun atmosphere?

Dominic: Well it’s funny really because I started out as an actor, and acting is always what I wanted to do. So I think when it came to, weirdly, I got in to directing and enjoyed it a lot more than I expected to, so I’ve always liked to keep the acting up. Also I’ve done bigger parts in other stuff as well. And it’s fun to work with other directors and learn from other directors, be on other sets and see how they come on.

So I always try and keep the acting sharp and it’s like anything, you keep practicing and keep learning and so I do try and give myself something in the films a bit. So it was just a case of in Loser it was just a fun part and obviously the biggest attraction to me was the opportunity to work with Martin Constant who you know, I’m a huge fan of his, I’ve just seen The Disappearance of Alice Creed just before we did the movie, so I was actually quite star struck when I first met him.

We got on like a house on fire, you know.

Gill: Oh yes, fantastic. What would you say was your favourite part of the movie, have you got any bits that you like watching more than others?

Dominic: I mean with Simon Phillips, he plays the physiatrist, I really like the scenes between him and James; you know it’s really good fun. Every time we cut back to that bit in the film, it always makes me smile, and also the Richard E Grant scene. I love it; I mean he was just a joy to work with.

But also the Adele Silver scene in the shop, when she plays a character called Charlotte and James attempts to chat her up, but it was her time of the month!

Gill: Yes (laughs)

Dominic: That always makes me chuckle. It’s fun you know because when we were screening it was really interesting to see which jokes and which moments went down best with a live audience

Gill: Yes that’s right

Dominic: Yes, some of the scenes really did bring the house down; it’s just such a good scene in that one. But in terms of the economical film, the whole film was really good fun, there was a great vibe, everybody got along really well, which is not always the case in these kind of movies. Yes the whole film was good fun there was no part of any shoot where I didn’t enjoy it.

Gill: Yes because I was going to ask, was there any funny or difficult moments when you had to adapt the directing?

Dominic: Definitely, we had a very tight budget on How to Stop Being a Loser and at that point it was very, very difficult. For example, on Sheridan Smith’s scene we literally got into the location 5 minutes before showing her it. Trish the producer just literally found the location, she was like right ok I’ve found it, so we could get to the location and shoot within 2-3 hours, so it’s very difficult working like that. Very little prep, and you have to think on your feet the whole time, often have to adapt or tweak the script. So yes it was very challenging.

I think anything with a tight budget is always going to be very tough. But the bottom line is everyone on the shoot had a great attitude, everybody was there because we love what we do at the end of the day and certainly everyone wasn’t there just for the money and that was what nice about the actors that we bought in as well because we had such a low budget we weren’t paying anybody a fortune, so everybody from Richard E Grant to supporting artists, everybody was there because they believed in the project and had a passion for it and that made it a really great atmosphere to work in.

Gill: Do you think the fact that it was sort of some things were spur of the moment that makes it more natural for them to come together more naturally, do you think?

Dominic: I think it can do yes, I think Loser has its faults and I think it’s aware of its faults. As a film maker, I mean me personally, I think as a film director I’ve grown hugely you know. The last project I did was a sci-fi movie, it couldn’t be more different to Loser but at the same time there is no way I would of been able to pull off that film if I hadn’t have had the experience of Loser, so the whole thing was a learning curve, so it definitely was a case of trial and error. A case of jump in with two feet and then try and make as much work as we can do.

Gill: Yes, yes

Dominic: and that’s what we all did, I do think there are definitely faults that can be picked without question but, at the end of the day, I think the nature of the shoot certainly contributed to the film absolutely.

Gill: Yes, Brilliant, So you were talking about future projects and things like that, I know you were in the film Airborne that was with Mark Hamill and Gemma and Simon are in that as well, so have you got a bit of a team together now do you think, with those actors, have you got any future plans to do any other movies?

Dominic: Yes, definitely. We’ve actually done two since loser, we did a film called Airborne with Mark Hamill. Gemma and Simon were in that as well, and we’ve also done UFO with Jean-Claude Van Damme and Bianca Bree in, Sean Brosnan and Simon Phillips.

I often use the same cast members; if I click with them I very much enjoy directing performances. That’s my thing, so if I click with an actor and we get on well, and the work flows I will always want to work with them again. Obviously I enjoy meeting new people and expanding horizons and so on but Simon is so much fun and Gemma is like the least diva you’ll ever meet. She’s just an absolute scream. Gemma is so much fun, I literally can’t wait to work with her again to the point of when I look at projects now I will specifically look for a part for her because her attitude is just great, and the same with Simon. Also what helps is Simon and Gemma got on very well so you didn’t get any problems or bullshit, or you know any diva action behaviour, you know there’s just no room for it on an independent film.

The perception of film is so glamorous but it’s not, it’s tough, it’s cold, your standing out in the middle of the night in the middle of nowhere snow, wind, rain. I mean don’t get me wrong I’m not complaining, and don’t want to come across otherwise.

Gill: Oh no, no.

Dominic: It is hard work, it genuinely is, and if you start getting actors or crew that start complaining or moaning, it does make the process so much more difficult. I always try and remind people that we don’t dig a hole for a living, it could be a lot tougher you know, it really could and we should be appreciative of what we do and Gemma has certainly got that attitude, there’s no wonder that she has been so successful and I really respect Gemma as well because she’s given up the modelling and a huge income, you know, so she can be taken seriously as an actress. And she’s a bloody good actress as well, and she’s got every chance of being taking very seriously.

Gill: Yes, brilliant thank you. What was it like working with people like Mark Hamill on Airborne? What was that like, was that different?

Dominic: Yes, well, Mark Hamill was an absolute joy to work with. I really do get on well with Mark, he invited me over to his house in L.A for dinner and he is literally one of the nicest guys I’ve ever worked with, and for people who are fans of Star Wars and stuff like that he is exactly how you expect him to be.

He’s got amazing stories, he doesn’t mind sharing them or asking questions. He’s very good with fans, as you can imagine there is a steady seam of people wanting photographs, autographs and autographed posters. I mean he does it all, he has no problems whatsoever, there’s no looking down on his fans at all, he’s always happy, always happy to tell a story. The only problem was of course when we were on set Mark would start telling a story and everything would just stop dead, everybody, you could just hear a pin drop and everybody hanging off his words, so the fella in charge of keeping us on schedule was hurrying everyone up. The poor guy had a nightmare because of course every time Mark opened his mouth everyone just stopped and Mark’s a fabulous raconteur as he tells a great story. But yes it was a dream come true for me, you know I love Mark and the Star Wars movies, and what was quite eye opening for us was, when the word was spreading around that we were working with Mark Hamill, some people’s reactions, especially the younger generation, was oh my god you work with the guy who does the voice of the joker, they actually jumped to that before Luke Skywalker, which I found you know very unusual

They jump to knowing him out of a Batman film, didn’t know it was as popular as it is.

Gill: No, no I thought it would have been Star Wars for any sort of generation.

Dominic: It’s amazing to think that some people thought about the joker before Luke Skywalker, but he really is great. You meet all sorts in this game but Mark is the real deal, he’s such a lovely guy I can’t praise the guy enough.

Also he’s a really strong actor and I think he likes to pick stuff that will challenge him rather than, I think, he gets offered a lot of the same stuff, not to talk out of line but I think that’s the case and I think it was nice for Mark to do something a little bit different. I mean Airborne is a twilight zone movie, just tongue and cheek really and Mark’s brilliant in it you know, looking forward to getting it out there.

Gill: Yes, I can’t wait to see that one I was reading up on that one as well I think it sounds brilliant, really good.

Dominic: Let you guys judge it when it comes out!

Gill: I was going to ask you, do you find any differences as obviously How to Stop Being a Loser has been compared with Hitch, so do you find any differences with UK and US films, rom-coms or more action and horror films, are there any differences with making those?

Dominic: Yes absolutely.

I mean that’s a very interesting question. I think comedy is probably the hardest to portray as ironically How To Stop Being a Loser has gone down better in the states than it has over here, which is strange. It’s not actually out in the states but obviously it’s been taken to market and been filtered around and the reaction we’ve had in America has been really positive, they seem to get it which is often not the case.

I think in terms of money men for example, they’re always very nervous putting money into comedy because it’s so hard for it to translate. For example, if you think about it, I mean what a lot of people don’t realise is that when you make a film, when you make an English film, fingers crossed England is only a very small part of the marketing that the film will make. You sell the film to Japan and Australia, literally all over the world, then comedy is certainly the most difficult to roll out internationally.

I think that Hollywood find the same thing, like the way Die Hard would roll out internationally would be very different to say the way American Pie would roll out internationally. Just to take to extreme examples. So yes I do think there is a distinct difference between English and American films in terms of comedy, just because of the differences in sense of humour, although there is a project that I am sort of looking at at the moment. It’s kind of an American style programme but set in England. It’s something I’ve always felt is possible. I do think that How to Stop Being a Loser does have an American sense of humour but obviously on a very low budget.

I do think generally speaking, film is different. I’ve got a lot of friends in the states that have made films, but I haven’t directly so it’s difficult for me to compare them directly, but I would say it’s very different and America is very tight on unions, where as England isn’t on that kind of stuff, but I do think if you go anywhere in the world, raising money independently or within the system it’s very difficult, but I do think what is interesting about technology is advances in digital cameras etc.

What I think is really interesting about what’s happening is that it’s becoming more accessible to make a film for younger people, well not just younger people, people with less money to make a film. I mean things like, we’ve just done this film called UFO which is an alien invasion kind of thing in the UK, and the effects in that film are going to be remarkable but for us to be able to have access to these kind of effects at the kind of budget we would need 10x the budget we had to get anything close to those affects.

And I think what’s interesting, as film making generally becomes a little bit more accessible I think that’s positive. I mean film makers and people in the industry probably want that to be the case, because of course what that does is flood the market with people that want to make films. Personally I think that’s probably a positive thing because I think it gives talent the opportunity to rise to the top, as opposed to people that are connected or people that know somebody.

Gill: Of course

Dominic: All of our group that we work with have built from the ground up and nobody got a golden hand shake out of it, the people I work with.

Not that I am aware of anyway, and we’ve all had to work our way to wherever it is we are now and I think that it is a positive thing. Having been given the opportunity to meet people who are talented just to work and go to work just to show off what they have got to offer, rather than only people that can get themselves in a privileged place to make a movie in the first place

Gill: Yes, yes. Definitely I think it might even make them better actors because they have worked their way up.

Dominic: Absolutely yes, I think that’s definitely the case. The more experience you get on screen the better you’re going to be, I mean, my girlfriend at the moment is considering whether or not going to performing arts school or not, but the thing is all the actors and actresses I audition are trained to act on stage and they don’t realize the difference between acting on a camera and acting on a stage. That’s mainly just because they haven’t been given the opportunity to act on a camera before and don’t realize what it entails. They go on courses where they think they’re getting taught to act full stop, but don’t realize the huge difference between acting in front of camera to acting on stage and screen. So if they can get experience in small films or student films, any experience on camera, it will absolutely improve their skills.

Gill: I know it’s a bit of a change of pace and genre for you perhaps with How To Stop Being a Loser with doing films like Cut, a horror film in the past, so what made you take that sort of change in to rom-com type films?

Dominic: I suppose, well Cut, I am quiet passionate about that film. It’s a tiny film on a tiny budget and we did the whole thing in one single take, and the problem with Cut was the sound was buggered, you know. The sound was, we just didn’t have enough money so the sound didn’t work and it kind of got swallowed. I mean I loved the film very much but the film never done as well as it could have done, I think because of the sound. But in Cut there are a few jokes and it’s quiet a dark script, if you know me at all I do pretty much enjoy laughing more than anything else you know I don’t take much seriously.

Gill: Yes, yes

Dominic: I like to enjoy things and have laugh so it was never really a stretch for me to do a comedy and even in Airborne and UFO there were definitely, well hopefully, laugh out loud moments even in all the chaos. So I’ve always fancied doing a comedy and Simon actually loved the script, he was actually in love with the script. Being completely honest, I would have changed a few things to be honest. But yes I adored it and thought it had a lot of potential and I felt that we could make something of it so having read the script I said ok yes, I can do this and off we went. So it’s more the opportunity found me to be honest. I mean Simon and I will often throw each other scripts and when I’ve usually written anything the first draft will go to Simon, and Andy Thompson another guy I work with. We do try to kind of get each other opinions before we go forward with anything. I mean we’ve just finished Jack Falls which was quite a serious film, quite a tough shoot and we just fancied having a laugh! And we bloody did you know, really good fun.

Gill: Yes, yes I think that really comes across in the film, everyone got on really well and there’s a great sort of vibe to it as well. Just out of interest for me really, you were talking about Cut being done in one take. Was that in any way inspired by Rope, the Hitchcock film?

Dominic: Well do you know what, it’s funny you should say that because I’ve seen Rope, but seen it after I had seen Cut, and after making Cut. I think Rope is absolutely cracking. Really I mean Cut really came from, I struggle when I write to pass a lot of time, which I know is strange but in my writing everything I’ve written sort of takes place over a short period of time, and when I was writing Cut I got about a third the way in to the script and realized that the whole thing was taking place on one night just naturally.

So I thought ok, so let’s see if we can go all the way through the film with it being in one night and maybe we can do it in maybe a 24 style but in real time. Then it occurred to me that I didn’t think it had been done before, and I asked around and people told me I was insane and as soon as somebody tells me I can’t do something , it kind of makes me just want to do it.

Gill: (laughs) Yes.

Dominic: I mean I got told that about an alien invaders movie and here I am with a post-production of UFO, you know. But the idea with Cut was how cool could it be to be a part of the cast. As an audience member, just sort of right in there with the cast. So you know that at no point it’s going to cut to day time, and everything will be safe and you get that breath of air and everything rises and rises and you know because you can’t cut that you’re stuck in that picture for the whole time. I really got on board with that concept I thought that was a really cool idea. I noticed that I think Sun Dance this year has seen a one day horror that has come out and is getting quite a lot of attention. I was thinking oh god we done that 3 years ago!

Gill: Yes

Dominic: But erm I do think the idea is a good one. I think it particularly lends itself really nice to horror, I would say that the claustrophobic feeling that you can’t escape, and the more we built on the idea the more it worked. With UFO, a film we’ve just done, we done a seven minute steady shot without cutting in the middle of that at a supermarket riot, and there is no way we would have been able to pull that off without the experience of Cut. The whole sort of one take thing is something I really want to look back into, it’s something I don’t feel I’m done with yet, you know.

An actor that we work with called Joey Ansah, who is best known as the guy who fought Matt Damon in the Third Bourne Ultimatum in Morocco.

Gill: Oh right

Dominic: He’s becoming a big actor now he’s in UFO and got this idea for a huge one take fight scene, even though it’s been kind of done before, but Joey got some really good ideas about things so Joey and I are getting our heads together now for something a little bit special.

Gill: Oh right that sounds great, Have you got any influential directors that you look to, maybe draw on some of their ideas?

Dominic: You know, I’ve just got loads, I get asked this a lot and every time I give the answer I give a handful of different names. I mean the ones that immediately spring to mind, in terms of comedy, I’d say John Hughes, Tom Phillips he’s doing great work at the moment, in terms of directors generally I mean Michael Mann, Oliver Stone. I love Chris Nolan, Peter Anderson.

You know it’s really difficult with directors as there’s some amazing guys out there but I think often with directors. I’ve got this thing where I ask somebody what their favourite film is and then I ask them who directed it and 6 times out of 10 they have no idea!

Unless you’re specifically into film people don’t know directors or follow them, which is fine by me. I’m not particularly famous but I do think there are a lot of unsung heroes that even I couldn’t tell you the names of, you know.

I’m a big fan of 80’s films and I like a lot of the 80’s humour so maybe I draw on that quiet a lot. Shane Meadows is a great writer, others that do a lot of amazing work, so yeah there’s loads. But I’m a film nut; I’m always watching films so.

Gill: Ok thank you. Ok well a light question to finish with; I was going to ask you I know How to Stop Being a Loser going out 6th February, perfect Valentine’s Day movie to watch, Have you got any tips for the perfect Valentine’s Day?

Dominic: (laughs) you’re going to get me in trouble here. The perfect valentine’s, something un expected, I always like to try and surprise my girlfriend you know, always try to do something that she didn’t see coming and as required a little bit of effort that goes beyond just popping to the shop to buy her a box of chocolates, so something with thought and something with effort.

I always think as well if you make it something special that you guys know about, something you know your partner enjoys. I mean I’m no Romeo, but yes I will always try and do something like that, something that is special.

Gill: That sounds perfect, thank you and thank you for talking to me

Dominic: You’re very welcome

Gill: I watched the film last night; it was absolutely fantastic, just really hilarious.

Gemma: Thank you

Gill: What was it like playing a character that’s so different to you, because you’re so lovely and nice and you play Hannah, who in the end isn’t very nice?

Gemma: Yes it was fun, and when I first read the script my initial thought was not to do the role because I thought Hannah was just the girl next door and the eye candy in the film. It’s as I read on that I realised that she does become a bitch, and it’s something different that will be brilliant to do, but it was fantastic. It was hard to do because I get on with Simon so well, so after every shoot I had to hug him and tell him I was sorry, but no it was great.

I’ve got an older sister so I’ve spoken to her like that a few times.

Gill: So what made you want to do this film, what made you go for it?

Gemma: Just because it was something different really, the part was offered to me which I was really flattered by and just because it was different from anything I have played before. I mean, normally I play the nice characters or the eye candy characters, which I thought this was going to be, but as I read on I thought oh right there’s more to her than I thought. Also because it’s a comedy and I’ve never done that before, just horror and gangster films, so it was a new genre I got to do as well.

Gill: Which did you prefer do you think, doing the comedy films or more horror?

Gemma: I mean they’re both amazing, but with the comedy you kind of come off set on a high, sort of really excited. After doing 13 hours every day I’d come off set with a headache because of all the crying and screaming and it was a lot more physical and running around and stuff, but they were both as enjoyable, I mean I would do both of them again.

Gill: What would you say was your favourite part of the movie, are the any bits that you enjoyed filming or that stand out to you when you watch it back?

Gemma: The montage stuff I did with Simon I really enjoyed as we were getting to know each other because we did actually film that with just me and Simon, Dom just set the camera up and we went bowling for half an hour and then we went to Nandos, had some food and a chat so he got clips of that, so I like them bits because there like the most natural bits in the film and it’s because it’s ourselves kind of relaxed and enjoying ourselves, so I think that’s the best bit for me.

Gill: Were there any funny or embarrassing moments on set that you can think back too?

Gemma: Yes there was quite a few, Simon will kill me for telling you but he’s not as tall as me so when we did the kicking scene he had to stand on a box. I mean I had high heels on and we were in this like warehouse so it was freezing cold. I said I’ll take my shoes off and Dom said no it’s freezing, we will put Simon on a box. So he will actually kill me for saying that but that was quiet funny.

And just the things in the house, they were funny; the bed scenes with me and Simon, we had to have our picture taken to let the girls look at and it was me in the bed so that was quiet funny. I mean the whole run of it really, the outtakes show how much fun we had, it was constant laughs.

Gill: Yes it does look like there’s a really good vibe on set, especially when you watch the out takes so; do you have any embarrassing pickup lines that I’m sure people have asked you before?

Gemma: Yes I always get them, it’s quiet funny when I get the Holllyoaks fans, and they say did we go to school together and they’re like 4x my age, and I’m like no I don’t think we did. I don’t know, I always get people saying I don’t know who you are but do you want a drink, and I always say well if you don’t know who they are then why would you say that to somebody, you just wouldn’t make a point of saying that they’re a stranger

Gill: No it doesn’t make sense does it?

Gemma: Or when they say I’ve not seen Hollyoaks, so they think you’re going to be more attracted to them, it’s quiet bizarre really.

Gill: I was looking into Airborne, the film you did with Mark Hamill, and I think directed by Simon and Dom wasn’t it, so have you got a bit of a team together now, have you got any future projects or anything like that coming up?

Gemma: Yes definitely. I mean we finished Airborne then were all going to start a horror called UFO, but unfortunately I got signed on to another job so I couldn’t do UFO with them but this year John’s got a few more scripts that he’s seeing to at the minute, but we have all decided to work together again, were not sure what on yet but he has got two or three scripts that are very specific, and he won’t just make a film for the sake of it. He has to kind of make sure that it’s something he’s going to enjoy and that he can make into something really good. But yes hopefully we will get started on that within the next couple of months, it will be great, can’t wait to work with them again.

Gill: Yes, why is it you think you all so well together, is there anything you can think of?

Gemma: I think it’s because everybody is on the same page really, obviously Dom’s the director but he’s an actor as well, so he’s a lot easier to be around on set and I think because he uses the same crew a lot as well, who are all fantastic, everyone kind of knows how everyone works. I mean Dom could be plotting a scene and you can see Dom and the cameraman, they have both got the same ideas on how to shoot it before even discussing it, so I just think it makes everything a lot easier when you work with a team.

Gill: Yes that sounds lovely, I mean like I say it does come across. I’m really looking forward to seeing Airborne, what was it like to work with Mark Hamill?

Gemma: It was brilliant, he was so nice. I only really met him because I literally had just one scene with him in the airport, and it was my last day of shooting, so they kind of saved it until last which was great, and he was really sweet. Again it’s weird because I embarrassingly have not seen any of the Star Wars films, so I kind of Googled him before I went on so I had an idea, but he still looks the same, you can tell its him, you know when you look, he’s still got the same face.

Gill: It’s nice to hear that he was nice to work with, though you sort of think they’re going to be these big Hollywood names.

Gemma: Yes that’s the thing. I think everyone kind of thought it would be a bit difficult but he was really nice, and I said to Dom is everything alright and Dom said he’s been absolutely smashing

Gill: That’s really good, have you got any favourite actors that have inspired you or that you would particularly like to work with in the future?

Gemma: To be honest, with British actors there is so much talent within the UK that they’re difficult to pick up now, you tend to go more towards Hollywood names. I mean, some people in the UK, like the cast of Skins, I think there all amazing. When I worked with Alan Ford, again he was in Airborne, I had also done Casualty with him and I really like Alan because again he’s such a well-known British actor and he was just really nice and I had a really good laugh with him.

Gill: So there are more British actors that you would like to work with?

Gemma: Don’t get me wrong, if the opportunity came up to work with a Hollywood star then yes, definitely, but I love Charlize Theron. I think she’s fantastic and I’d love to do a period drama, that’s kind of my aim to do something like that

Gill: That would be lovely, sort of a Downton Abbey kind of thing.

Gemma: Yes, that would be brilliant

Gill: Are there any differences between working with UK and US actors, especially with something like comedy where it’s not translated the same?

Gemma: I think with comedy yes, I think the UK and the US we have different views; like our comedy is quiet dry and US can be quiet direct. I think the UK and the US have different views, it’s like if you look at our version of The Office compared to their version of The Office, they’re both funny, just in different ways, so for me a comedy would be a lot easier with a UK cast.

Gill: Yes, Definitely. Have you got three words that you would use to descried How to Stop Being a Loser to somebody to make them go out and watch it or sum up the film?

Gemma: I’d say laugh out loud really, because I think Simon’s character James, everyone can relate to him at some point in their life, whether it’s in their teenage years or in their early 20’s or whatever, at some point they will be able to relate to them.

Gill: Ok and just wanted to ask you, as How to Stop Being a Loser comes out 6th February, it’s the perfect Valentine’s Day movie to watch. Have you got any top tips for the perfect Valentine’s Day?

Gemma: Well, I’m away this Valentine’s Day; I’m in Africa so I’m going to be in a hotel room by myself! But I always prefer little gestures really on Valentine’s Day because I’m not really in to the big spenders and stuff; I prefer something a lot more meaningful. I mean my boyfriend Liam took me skiing for Valentine’s Day and all my friends were like, that’s crap skiing – it’s too much exercise, but I told him when we met that it was something I’ve never done but would like to do, so he remembered it and that’s what we done but I think something meaningful, something a bit more, go more personal and get something your partner would like.

Gill: That sounds perfect, for the perfect day. Alright well thank you very much for speaking to me. It’s been really interesting

Gemma: Thank you very much

Gill: Thank you and good luck with everything in the future

Gemma: Thank you, Bye

‘How to Stop Being a Loser’ is available to buy on DVD from 6th February 2012

Somewhere in Italy circa 1944, a squad of American soldiers is waiting for other squads to show when they’re ambushed by Nazi soldiers. Despite being outnumbered, Sergeant Stone (Thomerson) and his men manage to kill them all leaving only the no-nonsense Stone, eager beaver Joey Verona (Van Patten), the burly Mittens (La Fleur), and war correspondent Charlie Dolan (Manard). They escape into the woods behind enemy lines only to find out that both their radio and compass don’t work. While out hunting for food, Dolan and Mittens stumble across a Nazi camp. Stone and Verona go looking for them and discover a crashed alien spacecraft. From this point on, Zone Troopers is an engaging mash-up of war movie and science fiction tale.

The casting of Tim Thomerson and Art La Fleur is spot on as they both look like they literally stepped out of a vintage World War II film. Thomerson in particular is excellent as the two-fisted sergeant with a reputation for being unkillable. The way he acts and carries himself would’ve made ideal casting for an adaptation of Nick Fury and the Howling Commandoes back in the 1980’s when this film was made.

The screenplay by Danny Bilson and Paul De Meo does a good job of replicating the classic World War II movie, right down to the authentic-sounding period dialogue while seamlessly mixing in elements of the 1950’s space alien film. It makes sense that they would go on to adapt The Rocketeer, Dave Stevens’ comic book homage to 1930’s serial adventures, into a film.

The opening gun battle sets the right tone of a vintage World War II B-movie by way of Sam Fuller complete with pulpy period dialogue and a gruff squad leader that almost makes one forget about the cheap production values that, rather than detract from the enjoyment of the film, give it plenty of scrappy charm. As the film progresses, the production values improve in spots, like when Stone and Verona search inside the giant spacecraft.

For a low-budget B-movie, Zone Troopers is refreshingly ambitious with its intentions to blend science fiction with the war movie. What makes it work so well is that the filmmakers are obviously taking it seriously as opposed to poking fun at both genres. They make sure that the actors play it straight as well. That’s not to say the film isn’t without its humorous moments but they are used sparingly. Zone Troopers is an entertaining film that celebrates its pulpy roots.

Special Features:

Theatrical trailer.

Allen establishes his ambitious intentions right from the start with a grandiose montage of the city scored to George Gershwin and photographed in gorgeous black and white by Gordon Willis. This is the Big Apple as seen through Allen’s eyes as he presents rarefied social strata of well-educated, neurotic people entangled in messy relationships with each other. Still stinging from a bitter divorce, Isaac Davis (Allen) is now dating Tracy (Hemingway), a 17-year-old girl (“I’m dating a girl who does homework.”). His best friend Yale (Murphy) is having an affair with a journalist named Mary (Keaton).

Isaac and Yale’s lives are a mess with the former writing for a television show he loathes and the latter trying to finish a book and start up a magazine. The last thing they need is to complicate their romantic lives. Isaac realizes that Tracy is too young for him (“You should think of me as a detour on the highway of life.”) and gets involved with Mary after Yale introduces them. At first, Isaac and Mary can’t stand each other, arguing over an art exhibit and several artists she feels overrated but he thinks are great, however, he likes her unflinching honesty and she’s attracted to his sense of humor.

Woody Allen and Diane Keaton continue their undeniable on-screen chemistry playing so well off each other. She is allowed to tone down the more exaggerated comedic gestures she used in Annie Hall to create a more nuanced character in Manhattan. Mary is torn between her love for Yale, even though she knows its wrong and her attraction to Isaac. Allen is more than a neurotic joke machine as Isaac wrestles with his own moral dilemmas – his love for Tracy, even though he knows she’s too young for him, and his attraction to Mary who is much more compatible.

While Manhattan features an abundance of Allen’s funny one-liners, the screenplay he co-wrote with Marshall Brickman tempers it somewhat with the characters’ messy personal lives, like the resentment Isaac feels towards his ex-wife (Streep) for leaving him for another woman, or Yale cheating on his perfectly lovely wife (Byrne) with Mary. Allen expertly shifts gears from comedy to drama from scene to scene and sometimes even within the same scene.

Allen takes us through a guided tour through the city with key scenes taking place at famous establishments, like Elaine’s and the Russian tearoom, or tourist spots like the Hayden Planetarium, in such a way that New York becomes a character unto itself. It also doesn’t hurt that Willis’ gorgeously textured black and white cinematography makes everything look so good. Sadly, several of the places the characters frequent no longer exist making Manhattan a historical document of sorts. Allen’s film is arguably the best representation of his worldview: highly educated people with very little common sense when it comes to their personal lives, making bad decisions even when they realize it. But like the rest of us, they keep on trying, hoping that the next relationship is the one.

Special Features:

The Blu-Ray presentation of Manhattan is the best Allen’s film has ever looked and sounded, showing off Willis’ incredible cinematography. This is definitely worth upgrading if you own the DVD.

In keeping with Allen’s wishes, there are no extras on this disc except for the requisite theatrical trailer.

In this exploration of sensuality, ambition and deceit set the scene for the pivotal moment when Jung, Freud and Sabina come together and split apart, forever changing the face of modern thought.

Alvy Singer (Allen) is a successful comedian that gets involved with an unsuccessful actress Annie Hall (Keaton). He’s a raging neurotic and she’s incredibly insecure and together they make a great couple because they are willing to put up with each other’s many idiosyncrasies – he obsesses about death and she says inappropriate things. Over the course of the film, we see them fall in love and then break up when she moves to Los Angeles, wooed there by a record producer (Simon) who is attracted to her. Throughout it all, New York City serves as the backdrop to their romantic escapades.

Unlike most romantic comedies, Annie Hall draws attention to itself as a film with Allen addressing the camera or stopping a scene to make a point, like when he and Annie are waiting in line for a film and he complains about some pretentious boob pontificating endlessly nearby. Allen then produces famous academic Marshall McLuhan to refute the man’s incorrect theorizing. Allen also employs split screens and subtitles for ironic effect as well as appearing in flashbacks to comment on his past self. What also sets Annie Hall apart from Allen’s earlier work is his decision to hire legendary cinematographer Gordon Willis to shoot his film. Willis gives it a definite cinematic look occasionally incorporating hand-held camera to create a more intimate feel.

None of these clever techniques would mean anything if Annie Hall wasn’t anchored by the strong performances by Allen and Keaton and the undeniable chemistry they have. Already a seasoned pro, he spouts funny one-liners with excellent comic timing and Keaton matches him beat for beat as his ideal foil. They also both have the chops to handle the semi-serious stuff like when Alvy and Annie’s relationship sours. Of course, they have fantastic material to work with thanks to the well-written screenplay by Allen and Marshall Brickman, which is so much more than a collection of one-liners. It also features all kinds of wonderful observations about love and relationships, like how Alvy is unable to enjoy life and Annie calls him on it, which forces him to examine his own life. Alvy realizes that he still loves Annie and regrets breaking up with her.

Annie Hall was a big breakthrough for Allen, winning four Academy Awards and influencing countless romantic comedies, from When Harry Met Sally… (1989) to Singles (1992) to High Fidelity (2000). Arguably, only Allen has been able to top Annie Hall when, two years later, he released Manhattan (1979), which managed to be an even greater artistic achievement.

Special Features:

I think it’s safe to say that Annie Hall has never looked better with an excellent-looking transfer. It’s time to throw away your DVD and upgrade to this Blu Ray version.

Sadly, in keeping with other Allen home video releases there are no extra features save for a theatrical trailer.

When a 7,500 ton freighter is mysteriously lost in the South Seas off Japan, the authorities are baffled. Soon afterwards, a fishing boat is destroyed in the same manner: from an underwater explosion. It is a mine? An underwater volcano? There are only a few survivors and one of them claims to have seen a creature in the water. Some elderly citizens immediately claim that it was Godzilla, a creature that lives in the sea and occasionally surfaces to feed on mankind when food in the ocean is scarce.

Sure enough, late one stormy night, something destroys several houses in a village in such a way that it could not have been the result of natural causes, like a hurricane. Director Ishiro Honda wisely prolongs the first actual appearance of Godzilla for 21 minutes, cleverly employing traditional horror film techniques to create tension and build anticipation. We never actually see the monster in the initial attacks – just a hint of him but nevertheless his presence looms large, much like with King Kong (1933). When we finally do catch a good glimpse of the creature, it is little more than a head but it is a fantastic shot that effectively establishes his massive scale and is more than enough to send the locals running for their lives.

The country’s leading scientist Professor Yamane (Shimura) theorizes that Godzilla is the result of atomic testing, a mutation that exists to punish his country for dabbling in the dangerous waters of atomic energy and radiation. Naturally, the Japanese government wants to destroy Godzilla but Yamane respects the beast and wants to study it. Yamane represents a sobering humanistic voice that mirrored Honda’s own beliefs and acts as a sharp contrast to the government’s foolhardy shoot first, ask questions later attitude.

Look past the guy in the rubber suit and the obvious miniatures and you’ve got atmospheric black and white cinematography by Masao Tamai that is haunting, especially the night scenes with an almost silhouetted Godzilla destroying Tokyo that is a devastating site to behold.

Godzilla was born from the ashes of A-bomb attacks on Hiroshima and Nagasaki – the fallout of which Honda witnessed first hand. In fact, the film’s opening scene, where a freighter is destroyed by an explosion from under the water, was a reference to an incident in which a tuna trawler got too close to an H-bomb test courtesy of the United States and its crew became sick with radiation poisoning. With this knowledge, it’s hard not to see Godzilla’s swath of destruction through urban Japan as a metaphor for the A-bomb and a powerful critique of the dangers of atomic radiation. This is what elevates Godzilla above countless other monster movies from the 1950’s and has inspired countless sequels that have transformed the giant monster into a pop culture icon. The Japanese version is the way this film was meant to be seen with all of the stark footage of the dead, maimed and shell-shocked and numerous the A-bomb references – something that is missing from subsequent sequels that have turned into admittedly entertaining battle royales.

Special Features:

A few years ago, Classic Media released an excellent special edition of Godzilla with an unimpressive transfer and a decent collection of supplemental material, none of which has been carried over to the Criterion Collection’s new and improved edition so completists may want to hold onto that previous incarnation. As you would expect, Criterion’s transfer is near flawless and a significant improvement on the Classic Media version, making it more than worth the upgrade.

The first disc features an audio commentary by film historian David Kalat who provides a nice mix of analysis and production information. He goes into great detail examining the relationships between the characters and their purpose in the film. Kalat also touches upon the difference between the Japanese and American names for Godzilla. He also good-naturedly addresses the absurdity of the oxygen destroyer and other scientific inaccuracies. At times, he comes across as a little too enthusiastic but this is tempered by his encyclopedia knowledge of all things Godzilla.

“Photographic Effects” features effects director Kawakita and effects photographer Motoyoshi Tomioka revealing how some of the special effects for Godzilla were done with examples from unused footage. They point out the extensive use of matte paintings and composite shots.

Japanese film critic Tadao Sato examines Godzilla’s role in Japanese culture. He remembers seeing the film when it first came out and recalls his first impressions. He also points out how aspects of the film evoked memories of the atomic bomb attacks on Japan.

“The Unluckiest Dragon” is a 2011 audio essay about the Daigo Fukuryu Maru fishing boat tragedy that inspired parts of Godzilla. The crew witnessed a powerful U.S. atomic bomb test and became sick with radiation poisoning. This essay examines the socio-political implications of the incident.

Also included is a theatrical trailer.

For completists, both versions – the original 98 minute Japanese version and the 80 minute Hollywood version, entitled Godzilla, King of the Monsters – are included, each on their own disc, but after seeing the original it is really hard to go back to the other. American movie producers acquired the North American rights and promptly Americanized the movie, inserting a reporter played by Raymond Burr with only 60 minutes of the original film intact, the rest was cut and new footage shot. Criterion has also included a trailer and David Kalat returns for a commentary where he starts off by providing the brief backstory to the nuclear arms race between Russia and the U.S. He discusses the Americanization of Godzilla including its unusual structure of flashbacks, which he explains may actually be reminiscent of film noir.

There is an interview with actor Akira Takarada who talks about his experience working on Godzilla. He talks about his initial impressions of the screenplay and tells several filming anecdotes, including working with the legendary Takashi Shimura (The Seven Samurai).

Godzilla performer Haruo Nakajima (who played the creature in 12 films) talks about the challenges he faced playing the iconic monster. He recalls being told to study King Kong for how to move like a mythical creature. He talks about what it was like moving inside the suit and how he had to adjust his performance.

Features effects technicians Yoshio Irie and Eizo Kaimai talk about their work on the film. They start at the project’s origins and go all the way through production providing invaluable recollections on how the various effects were achieved.

Composer Akira Ifukube talks about his long, illustrious career and, of course, his groundbreaking work on Godzilla. He talks about his humble beginnings in forestry to how he eventually got involved in scoring films.