Blu-ray guide: National Film Theatre on Blu-ray

Supplemental material is a wide field, whether you call them bonus features, special features or VAM (value added material). Even when material may seem available through online archives, often valuable resources that can aid with understanding a director or actor’s work will be consigned to special features, and they may in the process fall out of print. The BFI’s website and YouTube channel (including their older channel) host some of the more recent BFI Southbank panels, that the BFI and other labels often duplicate for some of their Blu-ray releases. The Guardian‘s archives dating back to 1980 are in theory available as audio files, but only by appointment. Though the BFI’s website is wonderful for free access to archive film, a film database, and Sight & Sound articles, it lacks a section for one of the most historic parts of the Southbank’s history, resurrecting the lives and careers – and often the honesty – of industry professionals.

There’s been many changes over the years, with the BFI Southbank identity supplanting the NFT in 2007. (Perhaps the major difference, to my eyes, is it doesn’t supplement the acclaimed National Theatre.) As Geoffrey Macnab wrote at the time:

 “BFI Southbank sounds like a furniture store with its own cashpoint,” one was heard grumbling.

Featurettes, interviews, documentaries, video essays and short films seem to be the most vulnerable to being hosted online as streams and torrents of illegal rips, especially when they reflect major studio releases, but the amount of material exclusive to disc is far greater. Similarly, material hosted online is always vulnerable to copyright takedowns and the demise of the domains they’re hosted on.

However, some of the material most resistant to piracy can be audio interviews, panels and commentaries. Even by owners of vast collections, these materials can sometimes be overlooked for lacking visual interest, often played against static backgrounds, stills, or a film that may only be of partial relevance. By no means do these elements completely disappear in the decades after a panel is held: rather, transcripts and select quotes turn up reproduced in books and reference guides, and The Guardian website carries an archive of transcripts from 1997-2009. Similarly, a handful of edited transcripts can be accessed through the old BFI Screenonline site. That being said, listening to a director or actor speak about their experiences in their own words can be a quite different experience to seeing them in print, where sections can easily be glanced over.

In this guide, I’ve created an (albeit incomplete) list to NFT panels available on disc, divided by label and form (on-camera or audio only).

Arrow Video/Academy

On-camera:

The Long Good Friday/Mona Lisa Limited Edition

Q+A with Bob Hoskins and John Mackenzie

(also available on Anchor Bay DVD)

The Sorrow and the Pity
Interview with director Marcel Ophuls, filmed in 2004

Audio only:

Bring Me the Head of Alfredo Garcia

The John Player Lecture: Sam Peckinpah, audio recording of the director’s on-stage appearance at the National Film Theatre

Dekalog

The Guardian Interview: Krzysztof Kieślowski, an onstage conversation with Derek Malcolm at London’s National Film Theatre on 2 April 1990 to mark the British premiere of Dekalog

The Hired Hand

Warren Oates and Peter Fonda at the National Film Theatre, an audio recording of the actors’ appearance at the NFT in 1971

Hold Back the Dawn

The Guardian Lecture: Olivia de Havilland, A career-spanning onstage audio interview with Olivia de Havilland recorded at the National Film Theatre in 1971

Ramrod

Andre DeToth Interviewed at the National Film Theatre, a career-spanning archival interview from 1994, conducted by writer and broadcaster Kevin Jackson

The Running Man

Lee Remick at the National Film Theatre, an audio-only recording of the actor’s appearance at the NFT in 1970

Eureka Entertainment

On-camera:

The Friends of Eddie Coyle

A 1996 career-spanning on-stage interview with Peter Yates hosted by critic Derek Malcolm*

*shared material with Signal One (Eyewitness)

Kes

Extensive 1992 on-stage interview at the NFT with Ken Loach, interviewed by Derek Malcolm*

*shared material with BFI (Three Films by Ken Loach) and Signal One (Hidden Agenda)

Audio only:

The African Queen 

Audio recording of an on-stage NFT discussion about the film with Anjelica Huston and script supervisor Angela Allen from 2010*

*[recorded at BFI Southbank]

Audio recording of the Guardian interview with John Huston at the National Film Theatre in 1981, discussing his work and career

Forty Guns

Audio interview with Samuel Fuller from 1969 at the National Film Theatre in London

Hard Times

NFT Audio Interview with director Walter Hill

High Noon

A 1969 audio interview with writer Carl Foreman from the National Film Theatre in London

Yanks

Archival interview with director John Schlesinger

Indicator

On-camera:

Vampires and Ghosts of Mars

The Guardian Interview with John Carpenter – Part One, 1962-1983 (1994, 38 mins): the director discusses his career with Nigel Floyd at the National Film Theatre, London

The Guardian Interview with John Carpenter – Part Two, 1984-1994 (1994, 41 mins): the director discusses his career with Nigel Floyd at the National Film Theatre, London

Audio only:

Age of Consent

The Beauty of the Image: The John Player Lecture with Michael Powell (1971, 85 mins): archival audio recording of the celebrated filmmaker in conversation with Kevin Gough-Yates at London’s National Film Theatre 

The Guardian Interview with Michael Powell and Emeric Pressburger (1985, 105 mins): archival audio recording of the Archers in conversation with Ian Christie at London’s National Film Theatre

Berserk

The BFI interview with Joan Crawford (1956)

Blue Collar

Paul Schrader BFI Masterclass (1982, 106 mins): the filmmaker presents a fascinating summary of the many issues and ideas he explores in his screenwriting class, recorded at the National Film Theatre, London*

*shared material with BFI (The Comfort of Strangers)

The Border

The Guardian/NFT Tribute to Tony Richardson (1992, 58 mins): archival audio recording of an event chaired by Sight & Sound editor Philip Dodd, featuring Lindsay Anderson, Kevin Brownlow, Jocelyn Herbert, Vanessa Redgrave, Karel Reisz and Natasha Richardson, each sharing their memories of Tony Richardson

Castle Keep

The John Player Lecture with Burt Lancaster (1972, 100 mins): audio recording of an interview conducted by Joan Bakewell at the National Film Theatre, London

Charley Varrick

The John Player Lecture with Don Siegel (1973, 75 mins): archival audio recording of an interview conducted at London’s National Film Theatre 

The Guardian Lecture with Walter Matthau (1988, 89 mins): archival audio recording of an interview conducted by Tony Sloman at London’s National Film Theatre

The China Syndrome

The John Player Lecture with Jack Lemmon (1973, 80 mins): archival audio recording of an interview conducted by Philip Oakes at London’s National Film Theatre

The Collector

The Guardian Interview with William Wyler (1981, 83 mins): archival audio recording of the celebrated filmmaker in conversation with Adrian Turner at London’s National Film Theatre 

The Guardian Interview with Terence Stamp (1989, 92 mins): archival audio recording of the award-winning actor in conversation with Tony Sloman at the National Film Theatre

The Deadly Affair

The National Film Theatre Lecture with James Mason (1967, 48 mins): archival audio recording of an interview conducted by Leslie Hardcastle 

The Guardian Lecture with Sidney Lumet (1983, 89 mins): archival audio recording of an interview conducted by Derek Malcolm at the National Film Theatre, London

Dragonwyck

The John Player Lecture with Vincent Price (1969, 76 mins): archival audio recording of the celebrated actor in conversation at London’s National Film Theatre

The Effect of Gamma Rays on Man-in-the-Moon Marigolds

The John Player Lecture with Paul Newman (1972): archival audio recording of an interview conducted by Joan Bakewell at London’s National Film Theatre 

The Guardian Interview with Joanne Woodward (1984, 65 mins): archival audio recording of an interview conducted by Tony Bilbow at the National Film Theatre

Fat City

The John Player Lecture with John Huston (1972, 88 mins): audio recording of an interview conducted by Brian Baxter at the National Film Theatre, London

Five Tall Tales

The John Player Lecture with Budd Boetticher (1969): archival audio interview conducted by Horizons West author Jim Kitses at the National Film Theatre, London 

The Guardian Interview with Budd Boetticher (1994): an extensive filmed interview conducted by film historian David Meeker at the National Film Theatre, London 

The Guardian Interview with Elmore Leonard (1997): the celebrated author, and writer of the short story upon which The Tall T is based, in conversation at London’s National Film Theatre

Gardens of Stone

The Guardian Interview with Anjelica Huston (2006, 65 mins), archival audio recording of the celebrated actor in conversation with critic and producer Adrian Wootton at London’s National Film Theatre

Georgy Girl

The Guardian Interview with Charlotte Rampling (2001, 59 mins): an archival audio recording of a career-spanning interview conducted by Christopher Cook at London’s National Film Theatre

Hammer vol. 3

The Guardian Interview with Val Guest (2005): archival audio recording of the celebrated filmmaker in conversation with Jonathan Rigby at London’s National Film Theatre

Hardcore

The Guardian Interview with Paul Schrader (1993, 85 mins): audio recording of an on-stage interview conducted by Derek Malcolm at the National Film Theatre, London*

*shared material with BFI (The Comfort of Strangers)

Housekeeping

BFI Interview with Bill Forsyth (1994, 36 mins): archival audio recording of an on-stage interview conducted by Nick James at the National Film Theatre, London

The Last Movie

The Guardian Interview with Dennis Hopper (1990, 91 mins): archival audio recording of the filmmaker and actor in conversation with critic Derek Malcolm at London’s National Film Theatre

Lilith

The Guardian Interview with Warren Beatty (1990, 87 mins): archival audio recording of a career-spanning interview with the celebrated actor and director, hosted by Christopher Cook and conducted at London’s National Film Theatre

Mickey One

The Guardian Lecture with Arthur Penn (1981, 59 mins): archival audio recording of an interview conducted by Richard Combs at the National Film Theatre, London

Ministry of Fear

The BFI Interview with Fritz Lang (1962, 80 mins): archival audio recording of the celebrated filmmaker in conversation with Stanley Reed at London’s National Film Theatre

Missing

The Guardian Interview with Jack Lemmon and Jonathan Miller (1986): archival audio recording of an interview conducted at London’s National Film Theatre

The Odessa File

BFI Interview with director Ronald Neame 

BFI Interview with cinematographer Oswald Morris

Otley

The Guardian Lecture with Dick Clement and Ian La Frenais (2008): archival audio recording of an interview conducted by Dick Fiddy at London’s National Film Theatre

The Sinbad Trilogy

BFI interview with Ray Harryhausen (1981, 85 mins): archival audio recording of an interview conducted by Philip Strick at the National Film Theatre, London

The John Player Lecture with Ray Harryhausen and producer Charles H Schneer (1970, 90 mins): archival audio recording of an interview conducted at the National Film Theatre, London

The Stone Killer

The John Player Lecture with Michael Winner (1970, 64 mins): audio recording of an interview with the director conducted by Margaret Hinxman at the National Film Theatre, London

They Made Me a Fugitive

The John Player Lecture with Alberto Cavalcanti (1970, 62 mins): archival audio recording of the celebrated director at London’s National Film Theatre, including an audience Q&A with fellow filmmakers Michael Balcon, Paul Rotha and Basil Wright

Time Without Pity

The John Player Lecture with Joseph Losey (1973, 80 mins): the celebrated filmmaker in conversation with film critic Dilys Powell at London’s National Film Theatre*

*shared material with StudioCanal (The Go Between)

Torture Garden

The Guardian Interview with Freddie Francis (1995, 77 mins): the great cinematographer and director in conversation with journalist Alan Jones recorded at the National Film Theatre, London

Town on Trial

The John Player Lecture with John Mills (1972, 96 mins): archival audio recording of an interview conducted by Margaret Hinxman at London’s National Film Theatre

Track 29

The NFT Interview with Nicolas Roeg (1994, 68 mins): archival audio recording of the celebrated filmmaker in conversation at London’s National Film Theatre

Young Winston

The John Player Lecture with Richard Attenborough (1971, 78 mins): the celebrated filmmaker in conversation with film critic Dilys Powell at London’s National Film Theatre

BFI

On-camera

Akenfield

Akenfield Cast and Crew Interview at the National Film Theatre (2004, 27 mins): on-stage interview, presented with original mute 16mm location footage

Carmen Jones

The Guardian Interview: Harry Belafonte at the National Film Theatre

Les Demoiselles de Rochefort

Guardian Interview: Catherine Deneuve (2005)

Night and the City

The Guardian Lecture: 1981 interview with Jules Dassin by film critic Alexander Walker.

Actor Richard Widmark interviewed at the National Film Theatre in 2002 by Adrian Wootton.

Odds Against Tomorrow

The Guardian Interview: Robert Wise at the National Film Theatre (1995, 74 mins): a career-spanning onstage interview

The John Player Lecture: Robert Ryan at the National Film Theatre (1969, 63 mins): the actor talks at length about his craft

Audio only

Bergman: A Year in the Life

Ingmar Bergman Guardian Interview (1982, 62 mins, audio only): Bergman pays tribute to theatre and film director Alf Sjöberg, discussing his influence and impact on his own career. Recorded at the NFT in 1982

Betrayed

Guardian Interview with Costa-Gavras (1984, 71 mins, audio only): the Oscar winning director discusses his career in this interview recorded four years before the release of Betrayed

Comes a Horseman

The Guardian Interview: Alan J Pakula (1986, 95 mins, audio): the director in conversation with Quentin Falk, recorded at the National Film Theatre in 1986

The Comfort of Strangers

Prospectus for a Course Not Given: The Paul Schrader Film Masterclass (1982, 100 mins, audio only): Paul Schrader provides an illuminating precis of the film course   he had recently presented in America*

Paul Schrader Guardian Interview (1993, 85 mins, audio only): the director discusses films and filmmaking with critic Derek Malcolm*

*shared material with Indicator (Blue Collar, Hardcore)

Les Demoiselles de Rochefort 

Guardian Interview: Jacques Demy (1982, audio only) (75:50)

Guardian Interview: Michel Legrand (1991, audio only) (71:23)*

Guardian Lecture: Gene Kelly (1980, audio only) (76:00)

*shared material with Criterion (The Umbrellas of Cherbourg)

Eye of the Needle

Donald Sutherland Guardian Interview (1987, 73 mins, audio only)

Hair

Nicholas Ray in Conversation (1969, audio, 56 mins): the legendary filmmaker interviewed in London

Heat and Dust

The Guardian Interview: Ismail Merchant, James Ivory and Ruth Prawer Jhabvala (1992, 100 mins, audio only): John Pym moderates a panel discussion at the NFT

How I Won the War

Richard Lester in Conversation with Steven Soderbergh (1995, audio only): the director discusses his career in an interview recorded at the NFT

Judgement at Nuremberg

The Guardian Interview: Maximillian Schell (1971, 86 mins, audio only): the actor in conversation with film critic Deac Rossell

Life is Sweet

The Guardian Lecture: Mike Leigh in Conversation with Derek Malcolm (62 mins, audio only)

Maurice

Screening E M Forster (2019, 8 mins, audio only): audio extracts of James Ivory and Ismail Merchant in a panel discussion recorded at the BFI’s National Film Theatre in 1992

Mr. Topaze

Peter Sellers at the NFT (1960, 97 mins, audio only): the actor addresses an enthusiastic throng of fans

Red, White and Zero

Lindsay Anderson Introduction/Stills Gallery (1968, 5 mins) an audio recording of Anderson addressing the NFT in 1968, played over stills

Rossellini/Bergman Collection

Ingrid Bergman at the National Film Theatre (Chris Mohr, 1981, 37 mins): archival Guardian interview

Stranger in the House

James Mason in Conversation (1981, 86 mins, audio only): the actor discusses his career in an interview at the National Film Theatre, London

El Sur

Victor Erice interviewed by Geoff Andrew (2003, 83 mins, audio only)

They Came to a City

Michael Balcon NFT Lecture (audio only, 59 mins): recorded in 1969, the producer discusses the different stages of his career

Three Films by Ken Loach

Ken Loach: The Guardian Lecture at the National Film Theatre with Derek Malcolm (1992, 74 mins)*

*shared material with Eureka (Kes) and Signal One (Hidden Agenda)

Valentino

The Guardian Lecture: Ken Russell in conversation with Derek Malcolm (1988, 90 mins, audio with stills)

Vivre sa vie

Leslie Hardcastle Introduces Vivre sa vie at the National Film Theatre (1968, 3 mins, audio only)

The Wages of Fear

The Guardian Lecture: Yves Montand in conversation with Don Allen (98 mins, audio only): recorded in 1989, the star discusses his distinguished career

Women in Love

The Guardian Lecture: Glenda Jackson interviewed at the National Film Theatre (1982, 90 mins, audio only)

StudioCanal

On-camera:

INLAND EMPIRE

Guardian Interview with David Lynch at The National Film Theatre” featurette

A Kind of Loving

NFT interview with John Schlesinger from 1988

Audio only:

The Go Between (digibook)

Audio Recording of Joseph Losey being interviewed by film critic Dilys Powell in 1973.*

*shared material with Indicator (Time Without Pity)

Signal One

On-camera:

Compulsion

The Guardian Interview with Richard Fleischer (1994): Fleischer returns to the NFT for this filmed interview

Eyewitness

Peter Yates in conversation with Quentin Falk (1996): filmed discussion at the National Film Theatre

Hidden Agenda

The Guardian Interview with Ken Loach (1992): archival interview filmed at the NFT*

*shared material with Eureka (Kes) and BFI (Three Films by Ken Loach)

Kiss of Death

Interview with Richard Widmark (2002): the celebrated actor in conversation at the National Film Theatre

Audio only:

Compulsion

The Guardian Interview with Richard Fleischer (1981, audio only): the award-winning director discusses his career after a screening of Compulsion

Doc

The Guardian Interview with Faye Dunaway (1980, 72 mins, audio only): the star of Doc discusses her career with critic Alexander Walker

Eyewitness

Peter Yates in conversation with Derek Malcolm (1982, audio only): archival interview with the director*

*shared material with Eureka (The Friends of Eddie Coyle)

Gas-s-s-s

The Guardian Interview with director Roger Corman (1970): archival interview conducted the day after work was completed on Gas-s-s-s

The Guardian Interview with director Roger Corman (1991): the legendary director returns to the NFT to discuss his career

The Honey Pot

The Guardian Interview with Rex Harrison (1971, audio only): the celebrated actor discusses his career

The Guardian Interview with Joseph Mankiewicz (1982 audio only): archival interview held at the NFT

Criterion Collection

Autumn Sonata

A 1981 conversation between actor Ingrid Bergman and critic John Russell Taylor at the National Film Theatre in London

David Lean Directs Noël Coward

Audio recording of a 1969 conversation between actor Richard Attenborough and Coward at London’s National Film Theatre

Dekalog

Archival interview with director Krzysztof Kieślowski, a 1990 audio recording from the National Film Theatre in London

Forty Guns

Audio interview with Samuel Fuller at London’s National Film Theatre from 1969

Life is Sweet

Audio recording of a 1991 interview with Leigh at the National Film Theatre in London

The Umbrellas of Cherbourg

Audio recordings of interviews with actor Catherine Deneuve (1983) and Legrand (1991)* at the National Film Theatre in London

*shared material with BFI (Les Demoiselles des Rochefort)

Freddy Got Fingered (2001), dir. Tom Green

Perhaps one of the lessons in cinema is to learn that there is no such thing as a ‘bad movie’. There’s ideologically bad movies; films that abuse the cast and crew, or are badly edited and badly shot and badly written, atonal and unstructured. M Night Shyamalan, despite the perception that has built in the years since Signs (2002), isn’t a ‘bad’ filmmaker; The Cat in the Hat (2003) employed Emmanuel Lubezki, best known for his collaborations with Alejandro González Iñárritu and Terrence Malick, as its cinematographer. The Room has elements that could make a good movie contained within it, and a wealth of intertextuality with Brando and Dean. Nobody sets out to make a bad movie: you might even set out to make a grindhouse B-movie. Perhaps the problem with the nomenclature of “so bad it’s good” is the presence of ‘bad’. Often, early films by directors can be seen as just a shadow of what the director would become; but Dark Star (1974) and Stereo (1969) end up as highlights and as elevated as everything else their respective directors worked on, beyond mere contextual material. Great people work on ‘bad’ movies; bad people work on good movies. There’s ‘great’ films I don’t like all that much. Is there really a “worst film ever made”? Each film should be judged on its own terms. Does it achieve what it set out to do?

Even the DVD’s minimal pull quotes plays into the film’s divisiveness:

“Total anarchy” – Hotdog

“So dumb it’s genius. Classic.” – Loaded

Obviously Tom Green’s style of comedy is going to be divisive. Outside of its 2001 release, it becomes divorced from Tom Green the comedian and MTV act: it has to do its own heavy lifting. Green’s comedy in Freddy Got Fingered relies on the chaos of context: breaking boundaries, moving the metaphorical and unspoken and flippant into the absolutely literal; on the flipside, turning the serious into the flippant. Getting to know animals better? Literal. Characterising your own father in your work? Literal. Fuck off or fuck my ass? Literal.

Is this a film serious about addressing disabled sexuality, discrimination, hypersexualisation, the difficulties of (false?) (completely legitimate?) allegations of sexual abuse and the institutionalisation of victims, the political situation in Pakistan and a hostage crisis, the dangers of child safety from recreational activities?

Probably not.

By recontextualising, Green reconsiders what we consider normal. So much of the film’s gross out humour relies on bodily fluids. As Green says in the MTV making of special on the DVD as he talks to producer Lauren Lloyd:

There’s no point of doing the [horse] scene if you don’t see [BLEEP]. Like, Scary Movie, there was [BLEEP] all over that movie, know what I mean? Human [BLEEP], by the way. I mean, if you can put human [BLEEP] in Scary Movie, you should be able to put horse [BLEEP] in Freddy Got Fingered, right?

Fifty years ago, Elvis Presley couldn’t dance on, what was it, Ed Sullivan, without shooting him from here up [points to his chest]. Now we’re debating whether or not I’m going to whack off a horse.

Speaking in his heightened persona, he explains the process of making a stallion’s penis erect, and explains against censored graphic footage:

You know, I’ve always wanted to touch a horse’s privates. […] Dream come true time. If I was involved in the Make-A-Wish Foundation, and I was a child, well, this would have been my wish. […] If I was a sick kid, I’d want to whack off a horse.

Green relates to camera from the studio:

When I dreamed of being a comedian, those weren’t my dreams, whacking off barnyard animals. That’s porno! My dream was not to be in porno.

Even Green feels a three second cumshot would be going too far. Why can we show humans getting boners, jacking off and cumming in porn, but not the exact same thing when it happens to animals – the ethics of sexually arousing animals aside. It’s an everyday part of farm work; Green forces us to approach that. (In a deleted scene, Green is seen drinking milk directly from a cow’s udders – as if it isn’t already weird to drink animal lactation on an industrial scale?)

He throws one thing after another at us. What’s truly wrong with licking out a friend’s gaping open wound if it disinfects it? If parents can eat their newborn’s placenta, then what’s wrong with cutting open an umbilical cord with your own teeth – with the blood and gore of a body horror – and delivering the baby – not even a stillborn – just fine? What’s really wrong with chatting up a girl, Beth, at the desk in a hospital, or even flicking creamers as a way to cope with working at a hospital?

Of course Gord Brody is an awful human, dismissing the possibility of a girl he just got the phone number off because she’s a “cripple” (already lying to her about being a business consultant and stock analyst), or buys her off with jewels she never asked for or wanted. After revealing she’s an (amateur) rocket scientist and an alarm goes off, the camera pulls away, as she pulls off in the reverse direction to reveal her as a wheelchair user. The fact that an audience may already have precluded her from being a wheelchair user from the static framing of the desk reveals implicit biases. But at least Gord isn’t his father (Rip Torn) that reduces her personhood completely, never redeems himself and labels her as the R slur? She empowers her own sexuality, has her own boundaries and the acts of flagellation she likes. But her insistence on blowjobs seems pretty abusive without anything being talked about beforehand?

The film is a time capsule of the MTV culture of pre-9/11 2001: an Eminem closing song and soundtrack of pop music, being able to get a $1 million commission for a cartoon despite no industry experience and harassing the first employer you go to under false pretences, independent animation companies like Radioactive Animation Studios still existing (Fox’s own animation studios may potentially be under threat from the Disney merger), being able to joke about bombs, pass through security with no consequence, making jokes about CSA and ‘fingering’ minors in an industry (including Fox) that helped support, ‘rehabilitate’ and facilitate abusers.

Maybe placing yourself into the position of Gord is an awful idea. But it perfectly encapsulates the period of your 20s. I’ve been watching the DVD of The Young Ones (1982-84), a series that works much more strongly when you can reflect your own experience of student housing back against it – and is celebrated for its ludicrous, anarchic humour in a way Freddy Got Fingered isn’t. But what’s the difference? Through a heightened way, it makes truths real. The pressure from parents to get a good, successful career; the imagined pressure from a girlfriend to be the absolute best, the internal self-deprecation of seeing somebody do better and make more progress than you are (even when he doubts Beth), wanting to pursue a lifelong dream and passion but not seeming good enough, being rejected, begging for jobs, working shitty food industry retail at Submarine Supreme and breaking down with copious amounts of cheese because you’ve just had enough, being bossed by someone younger and shorter than you, having the time or enough hands to commit to a dream completely because everything else in adult life has to happen, wanting to maintain being silly and being immature even when you’re supposed to be ‘mature’ and have an ‘adult’ job. The situation of living at home as an adult and having to reconcile childhood with the present, the future, and still come away with a family bond. Why do we need a respectable, sensible comedy about family therapy?

Of course, actions have consequences: we follow a protagonist blind to consequences. But it’s not like these people don’t exist and continue to do shitty things the way they are. Perhaps the only sane person in the film is Gordy’s mom, deciding enough is enough, getting a taxi away from her shitty ableist, destructive, threatening, potential sexual abuser husband to find a new man – hypersexual enough to not even care about her own son being rescued from an international hostage crisis. Green lets over a year pass like nothing, he lets father and son reconcile like nothing, he lets injured children bleed like nothing. This film is a blast.

License to Drive (1988), dir. Greg Beeman

License to Drive actually has some pretty significant messages. The failures and expense of the American healthcare system are so vast that it’s more cost effective to destroy two cars and allow a teenager without a license to shift into reverse in a cadillac that isn’t road safe. The 80s dudebro attitude to photograph a comatose date in a moving vehicle is enough to risk your life and kill you. Be the responsible dude and turn down a girl that wants to make out and go down on you when she’s past it and about to chunder.

It’s still 80s teen comedy misogyny: a father so inept that even when he keeps track of her contractions, fails to recognise his wife is in labour. It’s a film about misleading people, being unable to tell your girl the truth that you can’t drive (and only learning in the first place to impress girls) and hiding her in the trunk without thinking about her safety – let’s suffocate her and treat her like it’s the opening to Goodfellas (1990)? The aptly named Mercedes (Heather Graham) is turned into a pin-up by pasting her face onto a porno pose car girl. But Mercedes still has agency over her sexuality and her relationships with other men, including leaving an abusive one.But it’s at the end of the day a film about getting the girl and driving into the sunrise. It’s neither progressive neither quite as regressive as it could be. Heather Graham still plays a male fantasy. (Corey Feldman, rather than Haim, went on a date with her during filming.)

It’s a film I could have done with when I was 17, alongside those other teen car driving classics, American Graffiti (1973) and Teen Wolf (1985) – the time where my anxiety capped out with the feeling that all my friends were learning or knew how to drive. Of course, they didn’t, it was only a handful of people in the entire sixth form, but it offered that feeling of needing escape and freedom. I tried to make sense of this feeling in a 2015 poem:

Entrusting yourself
In the curve slightly too much to the left
In hands divided between the satnav and steering wheel
In horizontally vertical parking spaces
And invisible curves
Is freedom

[…]

Under the grey-white clouds
And the windscreen meeting the horizon
It exists outside time

At 22, I barely know that many people my age that are actively driving. It’s weird how the significance of these goals shift when you grow older. Who cares quite so much about taking a girl out on a nice date and making it to a burger joint and rebel from your parents like it’s the only thing that matters?