Customer Reviews

Goodbye Gemini

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Filmed around 1969 in post Antonioni's (Blowup) Swinging London we have here the tale of brother and sister twins, brought to screen-life by Martin Potter (Fellini Satyricon) and Judy Geeson (10 Rillington Place) along with a sterling British cast including Michael Redgrave, Freddie Jones, Mike Pratt and Peter Jeffrey providing characteristically able support. Directed with a sense of ambiguous poignancy by Alan Gibson, who fans of 70's horror will recall from Crescendo, Dracula A.D. 1972 and The Satanic Rites Of Dracula. Goodbye Gemini benefits greatly for having Geoffrey Unsworth responsible for the cinematography, which one or two people may remember him as the D.P on a little known film- 2001: A Space Odyssey. Further aided by some sumptuous art-direction, imbuing the picture with a contemporary look which when viewed today does not befall other more dated looking examples of films made from this era.

I won't spoil for you the plot of Gemini, anyone who remembers the movie first time round will know what to expect, but for those of you, like-myself, new to this film will get more out of not being told what to expect, but I can assure 1960's/70's genre fans will find this a worthwhile time-machine trip which for me would have been my year of birth.

New DVD outfit: Scorpion Releasing have done a fine job of bringing this film back from cinema obscurity and should be congratulated for what in the most part is a handsome anamorphic transfer of this low-budget, but rather classy cult curio. Original Mono soundtrack is strong without any annoying pops or hissing. A theatrical trailer coupled with a commentary track is provided which features star Geeson and producer Peter Snell whom whilst interesting to listen to provide scant insight due to their lapsed memories of the project, although Mr Snell is keen to point out his up-coming production of Robin Hardy's: The Wicker Tree. I'm sure we are all looking forward to that.

If you are a fan of 70's British films such as- Mumsy Nanny Sonny and Girly The Fiend; Psychomania; Horror Hospital; Hammer films; The Twisted Nerve; Pete Walker's movies; Performance; The Wicker Man; The Secrets OF Sex, or any other quintessential British horror/art/cult movies of this period then I urge you to take the plunge and return to 1969

Twins with an ambiguous past arrive on the late 60`s swinging London underground scene (something I have a weakness for, and plays an important role in determining whether you'll enjoy this film or not) and get caught up with a dubious clan of characters, one of whom has an unpaid gambling debt. He's trying to maintain a low profile while trying to shag the female twin and play Alpha male at the mod scenes and, of course, isn't successful at either.

The male twin has a sexual penchant as well as a possible sexual past with his sister, which is why this flick is remotely interesting. Martin Potter (Fellini`s 'Satyricon') steals every scene he's in, and is the best reason to see this one. He also has too much involvement with the Alpha male and his seedy clansmen and women, and folks start getting murdered with the twins always being peripherally involved. Are they killers? Are they insane? You'll have to watch for yourself.

This isn't a horror film, per se, more like a British gaillo or murder mystery, but I found it interesting enough, although a bit dated, as we've been desensitized thru the years since its release. Certainly deserving of a rental, but if you're not a fan of the late 60`s scene, probably a drag, man, a real drag.

This film, described aptly by the other reviewers, at first made me pass out because I thought it was so bad. I actually fell asleep during it and when I woke up I couldn't believe it was still going. I looked forward to seeing Martin Potter (after enjoying his work on Felini's Satyricon and Nicolas and Alexandra) only to find that he had a female twin that acted as a symbolic palliative to his inevitable performing of a shady gay character he normally usually played (and could only be played in those days). Apart from the plot (which is adequately recounted elsewhere) I would say this film is not a cult classic, it is a classic of terrible cinema and should be respected as such. Some of the actors are better than others but Martin Potter really must be given his due as a terrible gay-actor, not a gay actor who is terrible, but as deliberately and subversively turning cinematic gayness into abject acting. This of course requires that he be a very good actor, or not. Worth watching on youtube if this kind of thing interests you, don't spend money on it.