When he takes the old man out for a rare walk, the two get into a furious argument, and as Neville walks away in fury, the brakes on his father's wheelchair fail and he rolls to his death.

When she takes her grandmother out for some air one day and stops to smell some flowers, granny lashes out at her with her cane, in the process overbalancing her wheelchair and tumbling down a steep hill to her death. A smartly edited promo with a couple of potential spoilers for those with sharp memories (not me, then).I particularly warmed to his memories of going to see just about everything that came to local cinemas as a child, lying about his age to worm his way into 'X' rated movies, and staying in the cinema for hours to watch and rewatch double-bills, all of which I was also happily guilty of in my youth. The only surviving seven minutes of an ambitious-looking apocalyptic drama, in which a couple whose friend dies of a mysterious disease (at least that's what I'm guessing from what remains), so they bury the body and flee into town, where they discover that he was not the only one affected. For me, the result fe els more like a sketchbook of interesting ideas for a more fully realised movie that was never later made than a completed work. The influence of Henri-Georges Clouzot's Les diaboliques is evident, and there's a neat whiff of the later Misery to a couple of scenes, and the result is an interesting and intermittently surprising work, handsomely shot by Murphy himself and making evocative use of the sun-drenched Greek locations.

A jokey film award ceremony that pits ZK3 and its makers against the likes of Kenneth Branagh, Christopher Plummer and Martin Scorsese, and has awards for categories such as 'Best Supporting Dead Body'. But when two of the actors, Dave (Clifford Gardiner) and Rita (Nanda Adkin), nip upstairs for a quick one while their characters are off-stage, events take a particularly nasty turn. This has been sourced from Murphy's own tape copy and has no sync sound, and instead has an unsettling violin score.Murphy is back to his preferred theatrical script layout for this one, which is spread over 66 pages and includes some hard to read handwritten notes. The expected fluffed lines are often amusing, but the best moments are all technical gaffs, with Murphy's trademark fire-in the-foreground shot triggering a smoke alarm that ruins a deadly serious monologue, a lightbulb that is the main source of room light falling out and then dropped when an attempt is made to replace it, and an absolute belter when a body falls towards the camera and slams into the lens instead of stopping short as intended. A psychodrama that oddly feels simultaneously plausible and a bit of a stretch, one whose situation I became more invested in than the characters, particularly the ominous clues that are dropped in the early scenes. There is a more detailed breakdo\wn of the restoration details in the accompanying book, but this swallows up two densely packed pages that I'm not about to reproduce here.

Murphy, MJM Archive maintainer and author of an upcoming book on the director, Wayne Maginn, is on hand to prove you wrong. He also says of his earlier work, "As I get older, I look back on some of these films I made, and some of them I think, 'what was I thinking of? This has effectively put every other disc review on hold and thrown my planned review schedule for the first two months of the year into chaos. But for the sake of this utterly knackered reviewer, can you leave it just a little while before hitting us with the next one? It's solidly directed, the violence is gory and sometimes inescapably Freudian, and there's even a nasty bit of implied necrophilia.Although he was not so happy with a key change made by Jupp for his alternative take, he admits to enjoying the film, despite some technical shortcomings, and notes that, "It's a laugh, sometimes for the wrong reasons. The two eventually wash up on the shores of Cornwall, and to help revive the dazed princess, Tristan takes the bottle she wears around her neck – one he is under the impression is a reviving spiced wine – and pours some of the contents into her mouth, also taking a swig himself. On a sleepy Greek island, Vicky (Caroline Aylward) is fed up with looking after her abusive and handicapped grandmother, and uses every opportunity to sneak off and spend time with her lover, Steve (Michael Cattle). Murphy kicks off by outlining why he will not be attending the festival in person, and it seems so typical of this humble and immensely likeable filmmaker that one of the reasons is that he's just not comfortable being the centre of attention in front of a crowd of people.

Yet after watching everything in this mammoth set, I was left with the suspicion that had he followed a different path, he might have done all three. This offers a thoroughly argued repost to the jokey moment at the end of Murphy's self-filmed Horror-on-Sea interview, where an initially po-faced Phil Lyndon begins posing a question with, "You have described your 1985 movie Bloodstream as 'a pile of shit'…" prompting everyone to collapse into gales of laughter. An enjoyable mix of fluffed lines, technical issues, shot preparation and behind-the-scenes larking about that collectively suggest this was a really fun film to work on. Some shots linger on for longer than is needed, but the cut from Boadicea and Prasutagus kissing on the shore to Boadicea cradling her first child is a genuinely inspired time-jump edit. Jacky jumps in her car anyway but gets only a few metres before the car conks out, and she is stopped from going further by the unexpected arrival of her boyfriend Rick (Russell Hall).Michael Murphy, after all, is also the name of one of Robert Altman's favourite character actors, one who had a prominent supporting role in one of my favourite movies, Oliver Stone's Salvador. Runnings times given are for the version included in this set, which in some cases is considerably shorter than the original screener length (therse are listed in the accompanying book) and any added introductory captions. The fact that it was shot on film gives it an instantly more cinematic feel than the remake, but the camerawork and especially lighting are some of Murphy's best, and this earlier take clearly had a wider spread of locations and supporting characters than the later film. Areas covered include the locals, the crew, the weather, the location, onset injuries, and working with other actors and Murphy. It's well paced and directed, and the fight scenes are far more convincingly staged than the ones in Murphy's previous films.