Brimstone and Treacle (1976 TV Movie) User Reviews

The devil's tune

[Prismark10 · 7/10 · 29 June 2014]

Dennis Potter's Play for Today, Brimstone and Treacle was banned by the BBC and later became a film with pop star Sting playing the role of Martin Taylor.

The banned play was later broadcast by the BBC allowing us to see what the controversy was all about. Potter wrote this as a religious parable and instead of thinking about the power of goodness, Potter thought what if the power of evil actually brought some happiness or sense of purpose.

Michael Kitchen is the polite young man called Martin but in essence is the devil who visits a middle aged couple who look after their severely brain damaged daughter left that way after a car accident. He claims to be a friend of the daughter and stays on as a lodger.

The father (Denholm Elliott) is a little man frustrated with life and is a racist. Of course once the devil suggests that we should kill them all, leave no black, brown, yellow people alive, he sorts of thinks twice about his racism and realises the implications of his hatred.

The wife (Patricia Lawrence) is downtrodden with no life of her own looking after and bickering with her husband and caring for her daughter but the devil brings a little meaning to her life. As to the brain damaged daughter he cures her by attempting to rape her which is the element of the story that left the film unscreened for so many years and of course is the most disturbing especially as he wheels her around in anticipation of the dark deed.

Kitchen is charming, infuriating and shady as Martin the devil incarnate. However despite the 1970s production values, Potter's writing shines through here and it is a play that makes you think.

Disturbing TV Play with religious and philosophical elements.

[Squoggle · 9/10 · 17 September 1998]

This Denis Potter TV play was banned for about 15 years in the UK and was only shown for the first time recently. In the interim it was made into a film with a different cast.

Potter begins with the proposal that there is more good in some people who appear to be bad than there is in some people who pretend to be good.

A young woman has been brain damaged in a car accident and is bed ridden. She cannot communicate or feed herself. Her mother looks after her 24 hours a day. On day a demon in human form visits her house and ingratiates himself into the family. When alone with the girl he rapes her and then.....see for yourself.

The play is disturbing but to educated people it raises interesting moral issues. It could act as a good catalyst for a discussion session in an evangelistic church and would raise some strong feelings.

difficult and disturbing television play

[didi-5 · 8/10 · 19 October 2008]

I remember being extremely disturbed by this play on first seeing it twenty years ago, and it has not lost any of its power to shock. A young man, who we know right from the start to be the devil, coolly chooses his victim on the high street, foisting himself on the nervous and racist Mr Bates by his supposed friendship with Bates' handicapped daughter, Pattie. As the devil (here called Martin) Michael Kitchen is menacing and also very funny, while Denholm Elliott plays the father very well. Michelle Newell and Patricia Lawrence complete the cast as the girl vegetated by a car accident and her put-upon mother, destined to care for her forever.

Banned by the BBC for nine years, mainly because the basic message of the play is that as the devil rapes Pattie, so her restores her power of speech and the quality of her existence. But the play is much more profound than that, although some of its message is muddled and not fully developed. Potter himself claimed that 'Brimstone and Treacle' was a religious parable about good and evil - if so, it raises some interesting questions while being both distasteful and compelling to watch.

Disturbing, Profound and Very Entertaining

[graham_525 · 10/10 · 26 June 2008]

Dennis Potter was a unique and profound talent who wrote many great pieces of work for television. His work was entertaining, witty, satirical, innovative and challenging for both viewers and those involved in the television industry. Brimstone and Treacle is perhaps the most difficult piece he wrote which is reflected in the fact that the BBC banned it for 11 years. I recently watched it again and I found it to be as fresh and as shocking as ever. Viewed in the light of what British TV has become in the last 10 years it was particularly refreshing to be reminded of the quality it was once world famous for.

I really can't speak highly enough of this remarkable work. Firstly there are the superb performances of the three main leads. Michael Kitchen is breath taking to watch and Denholm Elliot was in his element playing a sleazy little man racked with guilt. Patricia Lawrence was also perfect as the downtrodden "mumsy". Dennis Potter's script was perfect and gave them wonderful lines. The story is disturbing and sick but at the same time incredibly funny. I couldn't help laugh at the demented sight of Michael Kitchen wheeling the mentally handicapped Patty around the living room before having his way with her. There was also what were at the time very innovative uses of lighting and camera which are still highly effective even today. There is also the Dennis Potter trade mark use of music.

What really offended people about this play, apart from the fact a mentally handicapped girl is raped, is a that demon comes into the lives of three people in a desperate situation and turns out to be their saviour. Not that he intended to or could care less about them but through his actions he saves Patty from her terrible state and frees "mumsy" from both the tyranny of her husband and having to look after Patty. The only one who comes worse is the father who as it turns out is the truly guilty one.

Early in the play a quote from Kierkegaard is shown on the screen, "There resides infinitely more good in the demonic than in a trivial man". Tom, Denholm Elliot's character, may not be evil but he is sentimental, dishonest, cowardly and racist. He has no real good in him and no real bad in him. He's an ineffective and frustrated little man and lacks the courage and conviction to be good or bad. This is why he is trivial. Martin, Michael Kitchen's character, is a thoroughly wicked demon but is far from trivial and lives a remarkable life. Perhaps the message from this is that it is better to be who you are with total conviction whether that is good or evil than to live a crippled pointless life in which you are neither.

However the exact meaning and message of this play could be debated for years and that is, at least in part, what makes a truly great and profound piece of work.

Vintage Potter - provocative and disturbing

[louis-16 · 10/10 · 23 September 1999]

My wife and I saw _Brimstone and Treacle_ at the Potter retrospective held in Boston a couple of years ago; we were discussing its implications for days afterward. Like much of Potter's work, it shows how good television can be when put in the right hands. Provocative and at times disturbing, it uses the devices of a moral fable to question our common-sense idea of moral judgment. A mysterious young man (Michael Kitchen) insinuates himself into the household of an unhappy suburban couple whose life centers around caring for their paralyzed and mute grown daughter. He has a plan for these people, and in the implementing of it he crosses the line into the unethical and the criminal. Yet we're being asked to look beyond appearances, because Martin is not an ordinary human. There's something demonic about his perverse toying with people -- not to mention his affinity with thunderstorms. As the film reaches its climax, another order of truth is revealed, one that stands our comfortable certainties about right and wrong on their heads.

Perfect balance of evil and good.

[ashwetherall1 · 10/10 · 9 February 2020]

I first saw Brimstone and Treacle when it was first officially broadcast in 1987 eleven years after it was made.. I had herd of but had no interest in the film version made 5 years earlier mainly because I was never a Sting fan. But as back then we only had 4 channels so I thought I'd give it ago. I was astounded by its power and how much it disturbed me. It disturbed me because I found myself laughing at things that no one should laugh at. I found the subject matter compelling and the payoff had me thinking about the play for weeks after.

The story of an evil man who worms his way into an unhappy damaged family to commit an acts of depravity that somehow creates a miracle and exposes the route cause of there problems.. as the credits roll. You find yourself thinking about the central premise of this brilliant work. Is the more good in the evil man than the trivial. This version is infinitely better than the 1982 film because it has a claustrophobic feel and is alot more disturbing in it direction and perfect performances..

A rewarding but disturbing film which deserves to be better known

[bbhlthph · 8/10 · 21 November 2004]

This film originated in a play with the same name written in 1976 by Dennis Potter for the TV series 'Play for Today', produced in the U.K. by the BBC. Its theme is straight black Gothic horror, and before the production was aired the BBC decided that it would be too shocking for many of its likely audience, so it was mothballed. Ultimately this TV presentation was not aired until 1987. (I have been told that there was an earlier public release in the form of a stage presentation, but I have been unable to confirm this). Long before this, Dennis Potter rewrote the play for the cinema and the film version was released in 1982. Basically the story is the same, but the film provides a little more fluidity than the play in which the action takes place almost entirely in one room. There is however one important difference, which can be discussed without creating a spoiler as it relates to a scene that Dennis Potter deleted from the play when creating his film script. The cast of the play features a typical suburban middle class family, comprising parents with an adult but paralysed and brain damaged daughter, who receive an unexpected visitor claiming to be a former friend of the daughter. I understand an early scene in the play showed the daughter becoming paralysed by a road accident when she ran out of her home in horror after finding her father having sex with her best friend. This immediately created layers of guilt which were quite significant in the TV play, but which the author decided to minimise in the screen version where the only reference to the accident comes later in the story as part of a dream sequence experienced by the father.

The story evolves around the visitor, Martin - a part played in the film by "Sting"; who was formerly a soloist with "The Police" (the group responsible for most of the sound tracks associated with the film), but who has now established an independent reputation as a film actor. At first Martin provides friendly and helpful support for the family but later, and seemingly innocently, he opens up troubles and problems which had been papered over, and thoroughly disrupts the normal tenure of the family's life. The dialogue is effective sharp and pointed, and the film, which is quite short, rapidly progresses to its final horrendous climax.

Ultimately the message is religious; but whilst the film raises plenty of questions, no solutions are offered. The parents consist of a somewhat disillusioned religious publisher, and his wife who shows a deep but simple faith. Their visitors conversation gradually but increasingly disturbs the faith of both of them, as well as that of the woman's club in the couple's church. In the original play hints were given that the mysterious visitor was Satan himself; but in the case of the film it was, probably wisely, decided to remove these; and by the final climax, the viewer is left - according to personal religious convictions - to conclude that the visitor was Satan himself, an ordinary person possessed by the devil, or a naturally evil person behaving in his natural way. The horror of the film is intensified by the fact that nothing in any way supernatural takes place, we are just observing a segment of ordinary human life. Ultimately this becomes a very rewarding but deeply disturbing film to watch.

Those interested in comparing the film with the original play may wish to note that both may be more readily available in PAL format from the U.K. - its country of origin. DVD's of the film are currently listed there, and I believe that a BBC videotape of the televised play, released following its eventual screening, is also available.

A disturbing and important work.

[ashwetherall1 · 10/10 · 9 February 2020]

Where can you start with Brimstone and Treacle. Well lets start with some basic history. Brimstone and Treacle was part of the play for today season for the BBC in 1976. Masterfully written By Denis Potter it was band by the BBC just before it was due to air . It was not broadcast until 1987. Strangely everyone agreed, even those that initially stopped the original broadcast that Brimstone and Treacle was a brilliant piece of work but to strong for some tastes and sensibility's. Well did they have a point.. Well although I don't agree with the banning of this work. I do understand the BBC's thinking back in 76, mainly because its possibly the most original , disturbing, humorous and strangely uplifting work ever to come out on UK TV and still packs a punch today.

The basic story.. Brimstone and Treacle concerns a young man called Martin who may or may not be the devil or a demon? Martin is looking for some sort of victim. someone who he can worm his way into there lives and cause some chaos . He does this by pretending to be an old acquaintance. In this case his victim is Mr. Tom Bates a trivial little man who Martin try's to convince that he was in love with Bates daughter. Bates who obviously knows nothing of this and is suspicious of Martin tells him that his daughter Patricia was in a a car accident and has suffered catastrophic brain injuries. Martin pretends to faint and causes a scene . Eventually Mr Bates tells Martin that he will go and get his car and be back to get him. But Mr bates has no intention of returning.. Unfortunately Martin has lifted Bates wallet and now has Bates address.

In the Bates home things are in a horrible situation. The trivial Mr Bates spends his time blaming everyone from the immigrants to the IRA their situation Mrs Bates is a loving kind and totally naive mother cut off from the outside world because of her daughter lost in servitude. Patricia her daughter, since the accident has become a drooling , spasmodic wreck of a once fine young women speaking gibberish with limbs moving independently of thought.. Its a darkly lit claustrophobic existence.

every now and then we see a flash back to Patrica's accident. She is obviously running away from something. Each flash back we get a little more information.

Martin arrives on the Bates door step under pretext of returning the wallet. When he sees the wreck that Patricia has become , instead of being horrified he greets her with" Hello my Darling". Mr Bates is confused and angered but Mrs Bates sees a sort of salvation. The scene is both funny and unnerving . Mr Bates lets slip that Patrica's friend never visit her, and one he never liked one of Patrica's friends. " she was a slut he says with a real venom . Eventually Martin worms is way into being allowed to stay the night. He's given Patricia or Patty as the bates call her's room. Martin waists no time looking though Patty's personal things and revelling in his plans for her. The next day with Mr Bates at work Martin using all his sickly sweet powers, persuades Mrs Bates to go shopping and visit the hairdressers leaving him to look after Patty. As soon as Mrs Bates is out the door we find out that Martin is going to rape Patty. In a strange little rhyme Martin turns to the camera and warns us the viewers that something very distasteful is about to happen. We witness Martin pushing Patty around the house comically mocking her and then mostly off camera the rape occurs. When Mrs Bates returns Patty is quieter. Mrs Bates states that theirs now a light in patty's eyes and that she looks contended . Martin offers to say a little prayer which turns into a kind mocking evangelical sermon or possible exorcism. That evening with Mr Bates returned the conversation turns to blame. Mr Bates blames immigration Martin agrees and the two men seen to be getting along but Martin takes things further saying that the national front should deal with the situation and that beating and death camps should be introduced to keep the immigrants in line. Mr Bates starts to back track seeing for possibly first time his errors in judgement. Than night Martin sneaks down stairs to again assault Patricia. But this time as if by a miracle Patty starts screaming and fighting Martin off her. Patrica is healed and Martin is forced to flee into the night. Patrica is normal and remembers what led top her accident . Mrs Bates is joyful at her daughters recovery an Mr Bates is guilt ridden as it was he that Patty caught in bed with her sluttish friend leading to the accident. Martin is now on the prowl again doing evil or possibly good.

The performances I can't praise these actors enough.

Michael Kitchen as Martin is a tour de force. He manages to switch from evil to sickly sweet with comic precision. Every look every half veiled sneer every movement if his slight frame conveys his intent. In any other actors hands it could become parody.

Denholm Eliot as Mr Bates give us again a master class in playing the sleazy trivial little man. Angry at the world but to afraid to do anything about it. he Would repeat this roll in the rather tame movie version.

Patricia Lawrence as Mrs Bates is kind of the glue that holds this play together. She conveys such blind hope and so much naivety. But we the audience feel such sorrow for her. Its a wonderful performance.

Finally Michelle Newell. Possibly the most difficult roll. Her performance as Patty is astounding in the fact that she both appals the viewer with the involuntary movements and speech and yet also manages to be so subtle in conveying her underlining feeling. I wondered how much research she did to play Patty.

I really don't need to say much about the writer. This is my favourite of his works. Its 1 hour 13 mins of Potter perfection aimed to appal, enlighten, humour and cause debate.. I cant recommend this play highly enough.