The Brute Blu-ray Movie

Rating summary

Movie		2.0
Video		4.5
Audio		4.5
Extras		3.0
Overall		2.0

The Brute Blu-ray Movie Review

Reviewed by Dr. Svet Atanasov February 3, 2022

Gerry O'Hara's "The Brute" (1977) arrives on Blu-ray courtesy of Indicator/Powerhouse Films. The supplemental features on the disc include an exclusive new program with the director; new audio commentary recorded by critics Kim Newman and Sarah Douglas; vintage promotional materials; and more. In English, with optional English SDH subtitles for the main feature. Region-Free.

It is just a bruise. No one would see it.

A sane woman would not spend more than a few minutes next to a deranged ‘brute’ like Julian Glover’s businessman, Teddy. I am sorry, but I don’t think that there can be any exceptions that prove this statement incorrect. Even when Teddy’s normal part is temporarily in control of his brain, he looks like a ticking bomb that is about to go off. As soon as he opens up his mouth it becomes crystal-clear that he is a very nasty, dangerous man that needs to be rejected on the spot as well. Any sane woman would instantly recognize his type, which is precisely why all the drama in Gerry O’Hara’s film is utterly ridiculous.

But Teddy is in a relationship with in-demand model Diane (Sarah Douglas), who seems to be in love with him. I write seems to be because I could not figure out the nature of their relationship. They are married and have a son together, but they don’t have a functioning relationship. He beats her up in the middle of the night, destroys her clothes, and at one point even attempts to use a branding iron to mark her like a witch, while she prepares breakfast for him, answers his questions as if he is the kindest husband a woman could have, and agrees to make love to him by the fireplace. Does this read like a description of a functioning relationship between two adults? Of course, it does not.

Photographer Mark (Bruce Robinson) and his girlfriend Carrie (Suzanne Stone) are supposed to be Diane's closest friends, but at the right time the former begins treating her as a sex object, too. Diane has a slightly more conventional relationship with Carrie, but eventually she conveys to her that she shares Mark’s philosophy of life as well. Strange? Not really. It is the new normal. (The sequence in which Carrie reveals that she is fully aware of Mark’s sexual needs and is fine with his behavior sums up perfectly the egregious definition of ‘freedom’ many ‘open-minded’ couples embraced during the ‘70s). Eventually, Mark and Carrie introduce Diane to Millie (Jenny Twigge), who is stuck in another equally ugly relationship. Just like Diane, Millie is a mother and wife who is routinely beaten up and humiliated by her husband, but instead of reporting him to the authorities she keeps responding to his whistles like a puppy.

During the ongoing female abuse and violence a few times it seems like the film is desperately trying to produce some truths about the evolving balance of powers between the two sexes. However, not only does it fail spectacularly, but in the process manages to leave a lasting impression that it is just a shameless exploitation project poorly disguised as a ‘kitchen sink’ drama. Needless to say, enduring its dishonesty becomes quite the test.

The film’s production values are mediocre at very best. It is obvious that O’Hara shot it with a small budget and it is even more obvious that select sequences were rushed. Some are pretty badly edited, too. For example, the finale where the branding iron is recovered is so illogical and wraps up the film in such amateurish fashion that it is hard to believe that neither O’Hara nor any of the people that assisted him saw any issues with it.

The only compliment I can give this film is by praising Douglas and Stone for staying with O’Hara and allowing him to finish it. I don’t know precisely how the abuse and violence were sold to them, but I very much doubt it that when they read the screenplay they knew exactly what was expected from them. More than likely, their characters and the humiliation they were supposed to endure evolved once O’Hara began shooting.

*This release features two cuts of the film. The slightly longer Export Cut contains all of the abuse and violence that were censored on the slightly shorter UK cut.

The Brute Blu-ray Movie, Video Quality 

Presented in its original aspect ratio of 1.85:1, encoded with MPEG-4 AVC and granted a 1080p transfer, The Brute arrives on Blu-ray courtesy of Indicator/Powerhouse Films.

According to official press materials, the film was exclusively restored in 4K from the original camera negative. I think that it easily shows because it has a very fine organic appearance on Blu-ray. However, because of the nature of the production -- as I mentioned elsewhere, it is very easy to tell that Gerry O'Hara was handed a relatively small budget to work with -- there are some notable inherited limitations. Most of these limitations produce various density fluctuations that have an impact on delineation, depth, and clarity. However, in a couple of areas there are minor traces of fading as well. Color balance is convincing, but this is another area where some very minor pulsations/fluctuations can be observed. There are no traces of problematic digital work. Image stability is good. (Note: This is a Region-Free Blu-ray release. Therefore, you will be able to play it on your player regardless of your geographical location).

The Brute Blu-ray Movie, Audio Quality 

There is only one standard audio track on this Blu-ray release: English DTS-HD Master Audio 1.0. Optional English SDH subtitles are provided for the main feature.

The audio is clear and stable. The dialog is very easy to follow, too. However, this is another area where the limitations of the production become quite obvious because frequently the sound can become somewhat flat and boxy. Dynamic intensity is very basic as well. There are no audio dropouts, pops, distortions, or other similar encoding errors and anomalies.

The Brute Blu-ray Movie, Special Features and Extras 

• Commentary - an exclusive new audio commentary recorded by critics Kim Newman and Sarah Douglas.

• Gerry O'Hara: Sticks and Stones - in this new video program, Gerry O'Hara recalls how The Brute was conceived and discusses its production process as well as his work with some of the cast members. In English, not subtitled. (14 min).

• UK Theatrical Prologue - in English, with English subtitles. (1 min).

• UK Theatrical Teaser Trailer - in English, not subtitled. (1 min).

• UK Theatrical X Certificate Trailer - in English, not subtitled. (3 min).

• Image Gallery - a collection of vintage promotional materials for The Brute.

• Short Films -
  
  1. The Sea Can Kill (1976). Directed by Gerry O'Hara. In English, with optional English SDH subtitles. (27 min).
  2. This Week in Britain: Erin Pizzey (1978). In English, with optional English SDH subtitles. (5 min).

• Booklet - 36-page illustrated booklet featuring a new essay by Alexandra Heller-Nicholas and Josh Nelson, a look at the public response to the film's controversial screenings, an interview with fight arranger Roberta Gibbs, an overview of contemporary critical responses, and film credits.

The Brute Blu-ray Movie, Overall Score and Recommendation 

To say that I disliked The Brute would be a massive understatement. I recall viewing it on VHS many, many years ago and my memory of it was that it was something of a curious oddity. My mind must be playing tricks on me because it is an absolutely awful film that makes duds like Hussy look almost decent. As far as I am concerned, The Brute is the worst kind of exploitation film -- it looks cheap and rough but tries to trick the gullible that it has a unique style and carries a serious social message. Indicator/Powerhouse Films' release is sourced from an exclusive new 4K master. If you reside in North America and wish to add The Brute to your library, you can purchase an identical local release, which we have listed here.