I used to think that Sidney Lumet’s THE OFFENCE was the brownest film of the seventies, where they took to pre-flashing the film to desaturate it and make it even more joyless and seventies-esque. But now I have a new winner, John Boorman’s LEO THE LAST, which has clearly tampered with its colour a bit in post-production, but also achieves a lot of its sombre palette by simply painting everything in sight shades of brown, grey, black and beige. Actually, a dark slate grey dominates. Surprisingly, perhaps, it’s extremely beautiful, but then I live in Edinburgh, a city which makes grey into a fetish.
Quite a problematic film, but a fascinating one — I write about it here.