Directors: Ronald Haines, John Gilling, Theodore Zichy, Ian F.H. Lloyd, Robert Bierman, David Evans, Polly Biswas Gladwin, Bruna Fionda, Zachary Nataf Mr Carré-Rice’s friend was not the only inmate to die after leaving a Thatcherite detention centre. That line between putting someone under stress and simply brutalising them seemed to never be clearly enough drawn,” he added.

The cast are all professionals, with Henry Woolf standing out as the undoubtedly psychopathic Henry, an overgrown child demonstrating how far he can go, and you suspect liable to pull the wings off insects if you gave him the chance. It’s all very convincing, and intentionally disturbing. These guards were given the green light to assault detainees and there were no questions asked,” he said. Green, Edward. "Ballads, songs and speeches", BBC News, 20 September 2004, accessed 30 September 2009 Wings of Death: Behind the Scenes (2023, 7 mins) (Co-director Nichola Bruce’s Chronological Edit of Her 8mm Footage of the Shoot) Once we were inside, we were stripped and stood in the reception naked while everybody went about their business around us and staff made disparaging remarks. It frightened the life out of us.”

Paul, who did not want his second name mentioned, saw his brother become addicted to heroin and die of an overdose after he emerged “broken” from a centre in Kent. Many short films act as proving grounds for those behind or in front of the camera, so you can find early work from people who would become much more famous later on. That can be disconcerting, with hindsight. Put it this way – would John Le Mesurier be your first choice to play a psychotic criminal on the run? That’s not a criticism of his range as an actor, but a reflection on the type of roles he is now best known for. Made in 1948, Escape from Broadmoor is the debut as writer and director of John Gilling, who signs his name in the opening credits and promises this to be the first of a series of psychic mysteries. While the film is fiction, it was inspired by recent escapes from the Criminal Lunatic Asylum (as it was then called) in the title. While Langford, real name Pendicost (Le Mesurier), has made his escape, the police investigate. Finally, Langford and his associate arrive at a house which Langford had broken into ten years earlier. But who is the young woman (Victoria Hopper) at the house, and why is she there? At 39 minutes, this does push at the limits of the short film. You may be able to guess the reveal, but it works once you get there, though the film takes too long getting there. MINGOLOO

David, Scott; Helen, Codd (1 May 2010). Controversial Issues in Prisons. McGraw-Hill Education (UK). p.60. ISBN 978-0-335-22303-9. His brother believes he was sexually abused, with him referring to some abuse as “too bad to talk about”. Splashing Around (2020, 18 mins): interview with Julie Peasgood, star of The Lake and House of the Long Shadows. Julie was 22 when she shot this and really enjoyed the experience, although did get frightened in the car sequence. She also recalls shooting House of Long Shadows and falling in love with Vincent Price and Peter Cushing and their funny stories. The staff in this place were just sadistic and seemed to enjoy abusing young boys… we were all made to deliberately go hungry and purposely served small portions of food, all letters to family were censored and dictated in the dining hall.” Tories on Young Criminals 1984", Interview of John Wheeler on TV AM, uploaded to YouTube on 14 August 2011, accessed 24 February 2015The idea was perhaps taken too far, perhaps the training they were given was taken beyond the realm of legality. We need an inquiry to work out who was authorising this type of behaviour.” We were physically abused on a daily basis, it was a time when I believed they would kill me,” said Keith. These two twist-in-the-tale stories were made by a UK independent company, Vandyke Productions, and were part of a series of shorts intended for the US television market, in a half-hour slot with introductions and afterwords by Adolphe Menjou. The directors were two men at the start of what would be longer careers, John Guillermin and Don Chaffey. With the Slater/Dyall frame added, the two stories were released in UK as a supporting feature under the present title. The stories are capably told, with “Bartleby” being particularly atmospheric, and this would have been a satisfying curtain-raiser for whatever main feature you were sitting in the one-and-nines for.