A One Mann’s Movies review of “Censor” (2021).
Bob the Movie Man Rating:
What Enid is trying to judge. What’s acceptable to enter homes on VHS (though I was always a Betamax guy). (Source: Vertigo Releasing).
Plot Summary:
It’s the early 1980’s in the UK*. Enid Baines (Niamh Algar) is a censor working for the (not named) BBFC who spends all day every day reviewing “video nasties” like “The Driller Killer” and “Cannibal Holocaust”.
But she has had a traumatic childhood with the loss of her sister, and a film – “Don’t Go In the Church” – by director Frederick North (Adrian Schiller) stirs very familiar memories. Is her sister still alive or a victim of a ‘snuff movie’? Was North involved in some way? Enid has to sidle up to sleaze-ball producer Doug Smart (Michael Smiley) to try to find out.
* (But it must be set after 1982 since they talk about “15” certificates!)
The censors at work in the smoke-filled offices of the 80’s, nicely recreated. (Source: Vertigo Releasing).
Certification:
Talent:
Starring: Niamh Algar, Michael Smiley, Nicholas Burns.
Directed by: Prano Bailey-Bond.
Written by: Prano Bailey-Bond, Anthony Fletcher.
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Rising star Niamh Algar. Just brilliant. (Source: Vertigo Releasing).
“Censor” Review:
Positives:
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here’s a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in “Berberian Sound Studio” comes to mind). But none (as far as I’m aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions – including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my “one to watch” list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark‘s fantastic performance in “Saint Maud” (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it’s one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of “Saint Maud“.
- The editing is by Mark Towns (who also did “Saint Maud“). And it’s bloody marvellous, particularly during that finale! While it doesn’t shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the “Psycho” shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in “Hot Fuzz”!
Enid on the search for Frederick North. (Source: Vertigo Releasing).
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Nope – not Saint Maud, but with a number of good parallels in terms of style. (Source: Vertigo Releasing).
Summary Thoughts on “Censor”
The workings of the BBFC have always fascinated me, and here’s a novel insight into their work during a very difficult period in their history: the National Viewers and Listener’s Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people’s (and particularly children’s) mental wellbeing from the influx of “video nasties” arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a “15” certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the “context” in which the violence was set. But I remember the first ‘X’ film I saw. It was Brian De Palma‘s “The Fury”, which (from memory) was purely rated as such for the final scene in which John Cassavetes‘s character explodes in a gory fountain. Judging from “Censor”‘s “15” certificate, things have become significantly more permissive in recent years!
Trailer for “Censor”:
The trailer for “Censor” is here – https://www.youtube.com/watch?v=KRrhXjH1M70. Note: contains bloody scenes.
