Death Watch

This movie foretold the downside of the "reality TV" craze twenty years before it happened. Wonderful brooding cinematography around greater Glasgow at its most depressed. This is definitely a film which deserves to be in greater circulation and better known than it currently is. Romy Schneider's last film, ironically enough, and an excellent very real performance in a fairly artsy 70s vein. I should note I saw this in Glasgow some years ago, and it was the European cut, not what sounds to be a bowdlerized American version which misses some of the point.

When I first saw this film at the age of seven, I was left highly impressed. From that moment on, Death Watch (La Mort en Direct) has been one of my favourite films. Although there are some weaker moments (a dull voice-over from a supporting actress, a climax that does not really hit the spot, French opening titles) the acting, the dialogues, haunting soundtrack and the charisma of Schneider and Keitel make watching this film a very good experience. Credit also to the director of photography and his camera crew, whose wonderful style may remind you of Dean Cundey's work on Halloween (1978).

This film was shot in my home town, Glasgow, in 1979. Since then it has rarely been seen and indeed I only saw it myself for the first time this year. Our local arthouse cinema, the Glasgow Film Theatre, screened a one off presentation of what was alleged to be the last print in existence. Though the print itself was old and worn the film blew me away with its futuristic storyline, fantastic cast and phenomenal locations. It captures Glasgow as it was in the late 70's just before a period of great changes in the landscape of the city. Tavernier skillfully uses an environment that is full of eery imagery - graveyards, cranes and an industrial landscape that is grinding to a halt. The film also depicts a society fascinated with death. Harvey Keitel is excellent as the human camera that allows society the ultimate act of voyeurism - watching someone die on TV. Awesome. Someone, somewhere please commission

I just finished watching this movie in a pitch black room and boy was it dark.Several sequences bordered on the invisible as Harvey Keitel descends into a cameraman´s room 101. Romy Schneider a revelation and spreading compassion on all throughout. The cityscapes are glorious and the faceless people of Glasgow add to the alienation expressed by the script. Excellent shift of pace as Max von Sydow enters to fulfill Romy Schneiders dreams. Great cast, though Harry Dean Stanton under-used, and a sin that this is not more widely recognised.

A great film, and quite scary, specially for Tavernier's view over the media (television here, but just replace that word, and nothing will be different), in a not so far future. Sad, because was Romy Schneider's last film. She, and Harvey Keitel, are in the leading roles, under Tavernier's direction the two in top form. In a way, this was ahead of other future "prophecy films", sure one of the best.