From Powerhouse films- here’s a new two Blu ray boxset focusing on one of the lesser-known and short-lived British film production companies of the 1970s The Pemini Organisation. In total, the company produced just three films- one mid-length short film, and two feature-length films- each had an air of English glumness about them, with an often-arty tipped take on genre filmmaking. Each film was well- made on often tinny budgets, with a good selection of known/respected actors, and talented crew members.

The Pemini Organisation was started in the early 1970s when three creative and focused friends – Peter Crane, Michael Sloan and Nigel Hodgson – using the first letters of each of their names, set up the vital independent British film production company.  Both Crane and Hodgson had just finished film school, and Hodgson was an actor. Moving forward Crane would direct each film, and Solan wrote their scripts- with Hodgson's connection with the company drifting after the first film.
 
 
 The first disc takes in mid-length short film Hunted, and feature-length Assassin- with a good selection of extras for both, but more on those later. So first up we have 1972’s Hunted- this runs forty-one minutes, featuring just two on-screen characters, and is best described as a tense ‘n’  taut thriller.
The film opens with blond-haired twenty-something letting agent Margret Lord (June Ritchie) showing the initial pleasant and polite Scotsman John Drummond(Edward Woodward) around a to let office, which overlooks the high street of a town. As things unfold, we find out that inside the long black case John carries is a rifle- and he plans to start gunning down pedestrians as Margret looks on.
 
The film is largely set in just one room, with just the two actors- so it’s down to the script/ acting to carry it off. And I must say it’s a wonderful tension building little thriller- with along its length we have both moments of troubling reveals, a few interesting twists, and of course great acting. Woodward slowly switches from a seemingly calm and controlled every man, to a focused if highly unbalanced snipper.  With Ritchie moving from your typical polite, if a slightly vapid letting agent, to a woman unsure what she’s got herself into, finally onto a woman fighting for her’s and others' lives.  The forty-one-minute runtime is just right- as the story unfolds at a good, and even pace- with nothing feeling over stretched or baggy- with the tension expertly built and deepened as it goes along, moving towards a sudden and nasty end, which has a nice twist in its tail.
 

The second film on disc number one is 1973’s Assassin. Here we have a rather glum, grey, at times dartingly arty espionage thriller. It’s a feature-length at one hour and twenty-one-minute mark, and while the sparsely minimal surface story/ plot is a little stretched in places, there are some interesting observations of a trained killer's mindscape & his needs/wants.
 
Playing the initial deadpan and morose assassin is Ian Hendry (Get Carter, Repulsion, Theatre Of Blood, and a host Of UK TV work). He’s called up from a grey and sparse UK government office- making his way via plane into the UK to take out his target- who has to be eliminated the next day, due to the rapid escaping of government secrets. His mark is mid-aged, married, childless, and focused on staying in his place salaryman John Stacy (Frank Windsor).

Hendry is becoming both tired and haunted by his work. And in the build-up to the hit, we see him struggling with inner turmoil in his hotel room, staring off into the middle distance in a bar, and picking up a young woman, with who he sleeps with. Life around his target Stacy sees stag night drinks for his work college Edward (Ray Brooks)- a cocky younger man, who is been put ahead for promotion, ahead of him

Around the plot lines of both killer and target, we have the vague outline of the organisation that set the kill order in place. There’s serious and uptight Control (Edward Judd), and two agents- the guff, bearded, long-haired, likes his job knocking out folks Mathew(Mike Pratt) and the more prim,proper, balding and often flippant  Luke (Frank Duncan).

The film has a largely cold and at times starkly brooding flow- which is punctured with moments of jarring artiness, and slowly putting together the pieces' flashbacks. We do have flits of tension and action, but largely it moves along at lulling and grim pace. Aside from the at times overstretched plotting, there are sudden bursts of dramatic, to slightly funky scoring- which at points feel out of place, and rather counter to what’s going on screen.
 
On the whole, Assassin certainly shows director Crane and writer Sloan firming out their filming style and tone of their vision. Hendry is effective as the starting to come apart assassin, with the supporting roles all well placed and realized. Yes, at points the film seems overstretched for what it is, and the strange placing of scoring is somewhat frustrating- Assassin is a decent enough and largely slow-burning ’70s espionage thriller.
 

 Moving onto the first disc it’s self- and both films on this disc get a 4K scan, and these are largely very good- alive with 70’s colours- at points, I did note some frame blur on both films, but this was fleeting. Moving onto the extras on this disc and Powerhouse has really pulled out the stops with new/exclusive content. First off, we get a commentary track for Hunted- this brings together director Peter Crane and film historian Sam Dunn.  They start off by discussing how the Pemini Org came about, and its three initial partners. They talk about the film's budget- which was just £1000, and how this was funded. Moving on they chat about how the two cast members came about, and the nerves Crane and his partners when meeting Mr Woodward. Crane talks about how he learnt to work with actors during making the film, and how each has a different work processes. Later on, they discuss the film's lost prologue, and if it was part of the film how it would have changed things. There’s talk about how the script was influenced by shooting in Texas.  The excitement of getting the film distributed by Warner/Columbia- and how this faded when the studio wouldn't initial give it a certificate, as the censor was concerned it would influence copycats- through in the end it finally got an X down the line, and much more- a most interesting and down to earth track.  
Next, we get a commentary track for Assassin- and once more it’s with Crane and Dunn. They start off by discussing how the jump occurred between Crane’s thesis student documentary In Search of Lebanon, Hunted and the film to hand happened. They talk about how Ian Hendry got his role, and that at the time he was a harden/ heavy drinker- which sometimes caused issues with the other actors. Mention that they never had a casting director- with the partners going to approach actors themselves. We get chat about how different actors work, and the larger crew on this film. Later on, Crane discusses how he collaborated with Hendry on certain elements of his character, and how he smuggled in booze on set- though apparently, he was never an angry/aggressive drinker.  They point out/discuss certain scenes, and much more- again another great/ well worth a play track.
Otherwise, on the disc we get a good selection of onscreen interviews- Organising Principles (31.39): Where director Crane remembers the origins of Pemini and his later work in the Hollywood system. An Amazing Time 6.24): which finds Pemini co-founder and writer Michael Sloan looking back on the three films the company produced. Good Chemistry (29.01): which finds Pemini co-founder Nigel Hodgson revisiting his time with the company. A Group of Friends (13.53): with actress June Ritchie, talking about her role in Hunted. Scoring with Gerry (12.03): where musician Graham Dee remembers his work with Gerry Shury on the compositions for In Search of Lebanon and Hunted. The Life of My Memories (21.47): where assistant director Martyn Chillmaid recounts his work on the three films. Assassin’s Creed ( 22.01): Where Ian Hendry biographer Gabriel Hershman explores the life and career of the troubled actor. There’s a short featurette about the restoring of the two films(4.45). And Hunted’: The Lost Prologue ( 10.00):a video essay, narrated by Crane, reconstructing and reappraising scenes shot for the missing US television version of Hunted, which featured Woodward’s son. The disc is finished off with Image galleries: extensive behind-the-scenes, promotional and publicity materials from the Pemini archives. Assassin script gallery: complete shooting screenplay
 
 
 
Over on the second disc we have 1974’s Moments- which is a blend of glum drama and off-kilter romance, edged with moments of bleak artiness, and low-key mystery. The film still has the very much grim British tone of the other two films on the boxset, and there are even fleeting hints at the spy/crime side of things, but ultimately the film is a lullingly paced-if-haunting film with a small/well-picked cast.

The film opens with a slow panning shot from a rocky beach, up to the white cliffs above- where we see a young boy running along the cliff's edge, as he’s glancing to his side at something. And it’s clear we’re in flashback mode- as fairly soon we switch to the then-present day, where we see middle age businessman Peter(Keith Michell) making his way back to the seaside town where he spent a few happy holidays as a child. He checks into a grand, if tired off-season seaside hotel. On his way in he gets nearly knocked over by a younger blond woman coming out of the hotel's door, and he checks in with Mr Fleming (Bill Fraser) a tubby, ann ageing porter who was there when he was a child. He’s informed that there is only one other person staying in the hotel, Chrissy (Angharad Rees)- who nearly knocked him over when he was coming into the building.
 
As Peter makes his way to his room, he keeps getting flashbacks to his youth- when he was more hopeful/ buoyant and the hotel was more vibrate and alive. He gets to his room, and stares down at the large outdoor pool- which is been drained as it’s out of season- and once again he flashes back to happier times of his youth.
 
As the evening slides in, Peter is still at his room's window- and we see him pulling a gun from out of his luggage- pressing it between his eyes, as a distant church bell chimes. Suddenly there’s a rapid knock at his door- initially, he tells whoever it is to go away, but the knock still carries on- when he opens the door we find Chrissy- whose asking for a match, and his help to light the gas heater in her room.
From here the pair slowly but surely develop a relationship in the confines of the largely people-less hotel- with brief trips outside to the night-time and seemingly empty town. I won’t discuss the plot any further- as it will give away the film's sly surprises, and its resolution.

Moments is a very slow/ lulling paced affair- and I’d say you'll need to enjoy bleak dramas/ semi-mystery films to get on with what’s on offer here. But I found it an extremely spellbinding and haunting film- the two leads here are perfect in their roles, Michell has a rather rundown/ glum sort of English Robert Redford vibe about him, and he manages portray English awkward-ness very well.  Rees is sort of the polar opposite- been a bubbly, bright, and buoyant presence.  For this film, the moody-to-grimly uneasy soundtrack is spot on, and unlike in Assassin it’s well placed. All in all, I’d say this was the highlight of not only this boxset & Pemini Organisation, but one of the more memorable and haunting UK dramas of the early 1970s- so it’s such a pity that this was the company's last film.
 
Moving onto this second disc- and once again we have a new 4k scan of the film, and this is great- really enhancing the haunting quality of the film, with the great score being most impactful on more than a few occasions. Moving onto the extras, and once again we get a really nice selection of new content, with also some most worthy archive extras.  On the new side front, we get a commentary track from Crane and Dunn again. They begin by discussing how the concept/idea of the film came about, and how it slightly changed when they managed to get the film's key location- which was The Grand Hotel in Eastbourne. They discuss how it all came together very quickly off the back of Assassin-  how things changed with a bigger & different crew, and that this film, unlike the first two films, was a pure actors union affair. They talk about the casting, how this came in place, and the different acting processes each of the lead actors had. They discuss shot set-up in hotel, and the crew that made this possible. We have talk about the film's funding, and how it has rather a European art film feel- with Crane touching on his influences.  They talk about the film's lead child actors in the flashbacks- and that these were Keith Michell’s children. Later on, there is discussion about a deal they did with a US distributor, who largely showed films in military settings- and how this company ultimately stopped paying their agreed fee, which caused a lengthy few year’s court case. Moving on to discuss how this was part of the reason for the Pemini Organisation coming to an end, and Crane going to work in the US film industry. And much more- again another very worthy track.
Otherwise, on the new extras side we have The Whole Story (16.23) which finds film historian Vic Pratt talking about how Pemini Organisation started, grew then fell- as usual he gives a great informed and at points dryly entertaining insight to the company, its film, and it’s key figures. We have a selection of deleted scenes (13.33) and Restoring ‘Moments'(5.00). On the new interview side, we have A Present Out of the Blue (7.00) where actress Valerie Minifie remembers her time on the film. Reality and Non-reality (14.00) composer John Cameron discusses/ replays some of the score
Shooting with Mr Su (11.00) where gaffer Bill Summers recalls lighting the film for cinematographer Suschitzky. Nothing’s Going to Stop Us (15.00) where production designer Bruce Atkins describes dressing the sets for the company's films. A Family Affair (22 .00): where assistant James Partridge remembers working with his cousin Peter Crane.
On the archive side, we have 1988 audio interview with Wolfgang Suschitzky, who was the cinematographer on Moments-this runs ninety-three minutes. In Search of Lebanon- which is Crane and Solan's thesis doc from 1970, this runs twelve minutes.  Lastly, we have an Image gallery- featuring extensive behind-the-scenes, promotional and publicity materials from the Pemini archive.
 
The finished set is finished off with an eighty-page book-this takes in new essays by Peter Crane about the origins and history of Pemini, extracts from the films’ original press materials, an archival news article, new writing on In Search of Lebanon, and full film credits
 

In finishing The Pemini Organisation (1972-1974) really is a wonderful set shining a light on one of the lesser-known, but creative corners of 1970s British cinema. With a truly fascinating selection of new extras, and some great archive stuff to boot. If you have any interest in either 70’s British film/ and or artier/ glumly impactful genre cinema, this is most certainly a must-buy set!.