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Eclipse
[Blu-ray]
Blu-ray B - United Kingdom - British Film Institute Review written by and copyright: James-Masaki Ryan (10th May 2025). |
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The Film
 "Eclipse" (1977) Tom (played by Tom Conti) arrives at his old family home in northern Scotland, where his sister-in-law Cleo (played by Gay Hamilton) and his nephew Giles (played by Gavin Wallace) for Christmas. Bringing a turkey and presents, it looks to be a happy Christmas season for the three, but there is also a massive amount of emotional baggage within the family. Tom’s twin brother and Cleo’s husband Geoffrey (also played by Conti) was killed in a boating accident when Tom and Geoffrey went boating on a stormy night of an eclipse, and the family have not fully gotten through the loss. "Eclipse" was based on the novel of the same name by Nicholas Wollaston, adapted to the screen and directed by Simon Perry. This was Perry’s first feature as a writer and director, and was produced by David Munro. The two had previously worked together on the film Knots (1975) in which Munro was the writer and director while Perry was the producer. Following Knots, this was the second feature under their Celandine Productions. Even with the fairly well known actors Conti and Hamilton in the leads, the film quickly disappeared from existence soon after its theatrical release in 1977, barely receiving mentions in the press and never receiving a home video or television screening. Nearly fifty years later, it has finally been given another chance. But where does "Eclipse" fit in thematically and why did it not connect with audiences at the time? The film is almost a chamber piece. Most of the story takes place within a house and its nearby surroundings of the coast, but there are some sequences elsewhere. The opening courtroom scene of Tom testifying in court telling the judge that he cannot clearly remember what happened on the night of his twin brother’s death. There are also numerous quick flashbacks of Tom and Geoffrey on the boat that fateful evening. The audience sees things from Tom’s viewpoint right away, as a man living with trauma but hoping to find peace by visiting the broken family. He even states he has a responsibility, especially as an uncle to help guide his young 9 2/3 year old nephew (the age that Giles says). But things are not well, seen with Cleo being attached to alcohol as she is constantly drinking and having multiple bottles stashed around the house. There are sudden outbursts from her and her relationship with Tom is broken, especially that she is projecting him to feel guilty about losing his brother and always being a reminder that her husband was the one that didn’t survive. But there are several moments in which things hint that she might not be all that insane, as Tom might not be the victim entirely. When Tom cooks the turkey and it ends up being uncooked in the middle while well done only on its skin, it becomes a metaphor for the family itself. Things might seem fine on the outside, but once they look inward, it is definitely cold and raw. When Cleo is drinking (as she always is), her truth is always revealed. Her anger and her sadness are always on display but it is never overbearing or overdone. Tom is able to try and control the situation, and he never gets sad or angry back at her. But is it because he has come to terms with the death or is there more to his side of the story? The twist is fascinating as Conti plays the role with simplistic heart. A man who lost his brother and has the difficult task to bring sense to the loved ones. But the way he plays it is almost too comfortable, making things more disturbing in the latter half as he reveals more and more. Is it possible that the death was not an accident? Did Tom let his brother die? Did he actually kill his brother? The flashbacks are then used in Rashomon form – What appears on the screen doesn’t necessarily meant it actually happened. The same sequences on the boat change from time to time, and it becomes more of a mystery as to which version is the truth, or if any of the flashbacks are true at all. The relationship between the twin brothers of Tom and Geoffrey is hinted at in a wonderfully shot sequence with little Giles playing with his new model train set. Tom is eager to show how it works and having Giles play with the controls, but Giles is not interested in convention. He makes the train run in the opposite direction, makes it go too fast where the curves are, and makes Tom frustrated that he lost control. At one point he unintentionally even yells “Geoffrey” rather than Giles. Even in the flashbacks on the boat, the slightly older Geoffrey is the one taking control of the boat and the conversation. With the nature of twins, there are many that are both perfectly in sync with each other. But there are also ones that are rivals from day one. (There are sets of twins in my extended family, and the ones I know both fall into the “rival” category.) It always becomes a competition while growing up of who could do what better and why can’t the other do the same thing? Though it is not explicitly stated, it is implied that the younger Tom has always played at being second in comparison to his older twin. Marks of jealousy and uncertainty are there, and the way it is played is unsettling when things start being revealed. The original novel has more emphasis on conversations and also wraps up the emotional ends entirely. But for the film adaptation, Perry decided to play the story with ambiguity, and so many of the questions are intentionally left unanswered. The tone is not exactly suspense as there never is a major payoff, nor is it a horror mystery either. "Eclipse" is a slow intense burning experience, and does not fit in the conventions of horror or drama. Expectations can lead to frustration, as one hoping to see something Hammer-esque will not get that experience. One thinking this is a Hitchcockian thriller in a chamber environment will also be disappointed that the climax is not how a conventional thriller ends. This was an issue with "Eclipse" as it cannot be placed in a specified genre with expectations, but best experienced with no expectations or plot hints at all. The film has some odd similarities with the brilliant 2022 film "Enys Men", with its coastal setting, the murder, the unexplained moments told in the flashback sequences, though it’s quite certain that the director Mark Jenkin did not see "Eclipse" as he was only a baby when the film was theatrically released. "Eclipse" has its flaws with its execution but does an extremely fine job with characterization and tension with its limitations. It may not be for everyone (especially cat lovers in one disturbing flashback) but a hidden gem for audiences looking for something different in the horror drama genre. The small film only had a minor theatrical release and virtually disappeared from circulation. Celandine Productions was closed after that and Perry would never again direct another feature. He stated that during production he figured out for himself that he was not fit as a director but a producer instead, and so his career went on in that direction instead, with dozens of credits as a producer of feature films over the decades. Conti has appeared in many memorable productions in leads and supporting roles over the years both in the UK and in Hollywood. Hamilton was more of a fixture on British television in the 1970s and 1980s, with sporadic roles in the 1990s and the 2000s. While BFI producer Vic Pratt was interviewing Conti for the Blu-ray release of "Heavenly Pursuits", Conti stated that "Eclipse" was a film that he had never received a copy of and was hoping that it would someday get re-released. Pratt was actually not familiar with the film at the time, but looked into it and lo and behold the original negative was in the BFI National Archive. Thankfully the BFI has now remastered the film and given this long lost unconventional chamber thriller a new life with new screenings and a Blu-ray release. Note this is a region B Blu-ray
Video
The BFI presents the film in the 1.85:1 aspect ratio in 1080p AVC MPEG-4. The original negative was scanned and restored in 2K resolution by the BFI. The transfer is good, though it should not be placed alongside some of the more high profile restorations the BFI have done. The image is quite pale, with faces and colors having more of a muted and washed out look. Darker scenes such as the night time eclipse does retain the blacks and dark greys well, but for a somber and mysterious tone it is quite bright. For the colors, the BFI’s technical director Douglas Weir referenced the colors of the ferry and uniforms seen in the film with his real life knowledge of the area, so it should be considered accurate. The color palate is well balanced throughout. While the film has been remastered, it still has some minor issues with damage marks of speckles to be found, as well as some weaving colors and slight instability of still shots. Some cleanup has been applied to the image, but note there are some minor issues remaining. Thankfully, film grain is kept intact and retains the original film quality in its look. The film's runtime is 84:45.
Audio
English LPCM 2.0 mono The original mono audio track is presented in uncompressed form, remastered from the original elements. The synthesizer based soundtrack was by late composer Adrian Wagner, a descendant of famed German opera composer Richard Wagner. The score is an eerie one with bubbling electronic sounds and unsettling tones, though it is one that is sparingly used and only when necessary. The music is well balanced against he dialogue and effects, which sound very good throughout. There are some instances of hiss and crackle that can be heard, but they are virtually unnoticeable for the most part. There are optional English HoH subtitles for the main feature in a white font. They are easy to read and well spotted.
Extras
Audio commentary by Vic Pratt (2025) This new and exclusive interview with the BFI's Vic Pratt has him discussing about how his interview with Conti led him to this reissue of the film, about the color grading in the remastering process, information about the characters and the actors, the differences from the book, the multiple flashbacks, information on key scenes, quotes from contemporary reviews, and more. in English Dolby Digital 2.0 without subtitles "Sun & Moon – Tom Conti discusses Eclipse" 2025 interview (9:47) This new and exclusive interview has Conti recalling his time shooting in northern Scotland for the film with a small cast and crew, his disdain for turkey due to the mishandling of the meat during production, and other memories. He also laments that the film was quickly forgotten about and went unnoticed for so many decades. in 1080p AVC MPEG-4, in 1.78:1 / 1.85:1, in English LPCM 2.0 without subtitles "Relative Strangers" short films (with Play All) (44:50) Two short films are under this submenu, which are not directly connected to the film itself, but share a theme of connection and estrangement of characters in Scotland. "The Chalk Mark" (1988) (24:21) Taking place in Scotland in the postwar environment, this short looks at the life of one family and the distance between each generation from the grandparents, the parents, and children. The semi-autobiographical short was the writing and directorial debut of Bernard Rudden and made with support from Channel 4 and the BFI, as part of the “New Directors” roster. The short was shot on film, but the transfer here comes from an analog videotape master. It is in fairly good condition though, with dark colors especially with the brown hues. Detail is sometimes a bit fuzzy due to the standard definition source, but damage is extremely minor. The mono audio is fair, a bit on the flat side. Note the short is available to watch for free on the BFI Player. in 1080p (upscaled) AVC MPEG-4, in 1.33:1, in English LPCM 2.0 mono without subtitles "Marooned" (1994) (20:29) Peter (played by Robert Carlyle) works for the Scottish railway service at the lost luggage department. With his time at the counter he pieces together stories of the people he sees and the lost belongings. Carlyle has gone on to become one of Scotland’s most recognizable actors, but this was him just a few years before his breakout role in "Trainspotting" in 1997, and a role that couldn’t be any more different from loud and crass Begbie. Quiet, understated, and nervous, the character of Peter is one that eventually breaks loose, and he does a wonderful job in the limited role. Like the short above, this was also shot on film and the transfer comes from an analog videotape source. This time the transfer looks much brighter and has more detail, but there are some minor videotape noise and errors that pop up from time to time. Audio is good, with a stereo mix that sounds well balanced. in 1080p (upscaled) AVC MPEG-4, in 1.66:1, in English LPCM 2.0 stereo without subtitles "Not Waving, Drowning" public information films (with Play All) (4:30) Presented here are three public information shorts that have to do with safety precautions in water. "Joe and Petunia: Coastguard" (1968) (1:38) This animated short is a public awareness promo for calling the coastguard if one sees a person that needs assistance in the water. All they have to do is remember the number 999. The transfer comes from a film element which has a lot of speckles and scratches, but the colors are in fairly good condition, as well as sharpness. Some crackly audio, but it is still intelligible. This short is also available on the BFI's "Stop! Look! Listen!: The COI Collection Volume 4" DVD set. The short is also available to watch on The National Archives site. It has also been embedded below, from the Maritime and Coastguard Agency YouTube channel. in 1080p AVC MPEG-4, in 1.33:1, in English LPCM 2.0 mono without subtitles "Charley Says: Falling in the Water" (1973) (1:13) There were six cartoon shorts with a cat named Charley, each focusing on different acts of safety. This time, it is making sure that kids should have grownups nearby when playing in water. Like the cartoon above, there are speckles and scratches, but still in a watchable state. The short is also available to watch for free on the BFI Player and on The National Archives site. in 1080p AVC MPEG-4, in 1.33:1, in English LPCM 2.0 mono without subtitles "Lonely Water" (1973) (1:37) A more sinister public information film which features the grim reaper watching children playing at a lake. Narrated by the iconic Donald Pleasence, the disturbing short traumatized a generation of English children. Instead learning about safety, it deterred them from enjoying watersports entirely. It's quite amazing how much power a short minute and a half piece can have on a young audience when done correctly. This short also comes from film elements, and while there is damage to be found, it is still in fairly good state. This short is also available on the BFI's "Stop! Look! Listen!: The COI Collection Volume 4" DVD set and "The Best of COI" Blu-ray set. The short is available to watch for free on the BFI Player. It has also been embedded below. in 1080p AVC MPEG-4, in 1.33:1, in English LPCM 2.0 mono without subtitles 2025 trailer (1:26) This is a newly created trailer for the film by the BFI. It has also been embedded below. in 1080p AVC MPEG-4, in 1.85:1, in English LPCM 2.0 without subtitles Image gallery (1:42) Presented here is an automated stills gallery without narration of music, which features behind the scenes stills and promotional stills for the film. in 1080p AVC MPEG-4 Booklet A 24 page booklet is included in the first pressing. First is an essay titled "Unreliable Narrations: Eclipse" by Vic Pratt on the film's themes and the production. Next is a text transcript of an interview with Perry conducted by Clive Hodgson, following a screening of "Eclipse" in the 1980s, so it appears the film did have a screening after its initial release sometime. This is followed by "The Locations and Landscapes of Eclipse" by the BFI's Douglas Weir on the remastering process and the personal touches it had as it takes place in an environment he is very familiar with in northern Scotland, with details on the surrounding areas. There is also a reprinted review of the film from 1977 by John Pym originally published in Monthly Film Bulletin. There are also full film credits, special features information, transfer information, acknowledgements, and stills. The BFI have given the film a good selection of extras, Due to scheduling issues, Perry and Hamilton could not participate in the extras for the Blu-ray. Fortunately for the film's reissue, the BFI held a screening with a Q&A session featuring actors Conti, Hamilton, and Wallace plus Perry, moderated by Vic Pratt. The Q&A session is an excellent listen, from Perry's thoughts on his one and only film as a director, Conti and Hamilton's recollections, and Wallace and his childhood memories on his one and only role as an actor. It has been embedded below.
Packaging
This is spine #51 in BFI's Flipside series of releases.
Overall
"Eclipse" is a slow and calculated character drama dealing with trauma and jealousy with wonderful performances by Conti and Hamilton in this slow burning film, which has gone far too long out of circulation. It may have its flaws but it is a great selection for rediscovery by the BFI's Flipside label with this Blu-ray release. Great extras and a good transfer, it obviously comes as recommended. Amazon UK link
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