The name Cliff Twemlow may not be exactly recognisable to most moviegoers. Something of a cult figure, especially in his native Manchester, he is probably best known for being behind the notorious G.B.H (1983) which found itself on the video nasties list in the early 1980’s. He went on to be involved in a handful of no budget movies throughout the 80’s, the majority of which never saw the light of day.
The idea of basing a film around such a figure may initially seem strange, but director Jake West has created a captivating documentary with Mancunian Man: The Legendary Life of Cliff Twemlow (2023). Filled to the brim with humour and drama, that even if you have no prior knowledge of Twemlow beforehand, you will be captivated within the first 5 minutes.
Jake West will no doubt be known to genre fans, starting his career off with horror movie Razor Blade Smile (1998), a lovingly made vampire tale that surpasses its budget limitations with a fair amount of style and good humour. West followed this up with the likes of the Evil Aliens (2005) and Doghouse (2009). More recently he has focused more on documentary work, directing the terrific Video Nasties: Moral Panic, Censorship & Videotape (2010) and its equally as interesting sequel Video Nasties: Draconian Days (2014), released through his own distribution/production company Nucleus Films.
Some may wonder what would attract someone to base a documentary around such an elusive figure, but with both Twemlow and West’s history of independent cinema it becomes more understandable. Of course West has had much more success than Twemlow ever received, but I can see how Twemlow could inspire aspiring independent filmmakers. Very much of the just do it mentality, Twemlow seemed like the kind of person enamoured by making movies, with necessary things like money or resources not stopping him.
It doesn’t take long into the film to see why West would have felt compelled to make Mancunian Man, as Twemlow very quickly proves to be a fascinating character. Even taking away his involvement in movies, Twemlow lived such an interesting and varied life that West could probably have made multiple documentaries. West confirmed as much at the Q + A afterwards, commenting how his original cut of the documentary ran to around 4 hours due to the amount of quality content he received from those that knew the man.
Lucky for West, he has been able to track down many friends and colleagues that were involved with Twemlow All of them bring their own distinct personalities into the mix which just raises the enjoyment factor even further. What is apparent from all of those involved is their genuine love and respect for Twemlow. Even when pointing out the man’s faults they can't help but put a positive spin on events. Even his ex wife, who left him due to his womanising, seems to struggle to say anything bad about the man.
Judging by the documentary, Twemlow had a desire to turn Manchester into the Hollywood of the UK. He had attempted in the early 70’s to bring an adaptation of his own novel The Pike to the screen, with him not only choosing to star but write and direct. He was even able to attract real Hollywood “talent” in the form of Joan Collins before everything fell apart, something West’s film shows in fair detail. The story surrounding this section of the doc is so interesting I wouldn’t want to spoil it, and the documentary only gets better from here.
Not to be put off by the failure of his attempt to break into films, Twemlow would finally get an opportunity when another of his novels, the autobiographical Tuxedo Warrior was loosely adapted for the screen. I say loosely as rather than it being about a Mancunian bouncer, it now involved the main character finding himself in South America fighting a gang of diamond smugglers. Twemlow played a smaller supporting role in the film, and even though it bastardised his original novel it was enough to give him the filmmaking bug.
Tuxedo Warrior led to his best known work G.B.H, a shot on video exploitation movie that cashed in on the popular Long Good Friday (1980). Decidedly rough around the edges, G.B.H has a certain charm about it, with it being clear that everyone involved was doing it for the love of being involved. Now having watched West’s film, it would seem they also done it for the love of Twemlow.
G.B.H. was the only film of Twemlow’s I had actually seen, tracking it down due to its notoriety in the UK. When younger I was unable to see past its production problems, judging it unfairly based on studio based films. It’s only later that I was able to appreciate the film for what it was. Now I'm not saying its ever going to be deemed a classic, but G.B.H is a great advert for what can be done on a miniscule budget.
It also appears G.B.H is where Twemlow would first work with the majority of his regular collaborators, many of whom show up throughout West’s film. Brian Sterling-Vete is afforded the most screen time, even taking the audience on a tour of filming locations around Manchester. Then there’s the great John Saint Ryan who action fans may know from Delta Force 3: The Killing Game (1991) or television show Roar ((1997) where he shared the screen with a young Heath Ledger. I definitely didn’t know him first from playing Bet Lynch’s love interest in Coronation Street, and if anyone says otherwise they're a liar.
Saint Ryan is good value, sharing several hilarious and heartfelt anecdotes. Similarly Max Beesley Snr (father to the more famous namesake) is entertaining with his recollections of some of the productions he worked on, one of which had him having to provide multiple voices for characters when they came to redub the film. Then there’s the still lovely Tanya James a.k.a Ginette Gray who likewise shows a real fondness for Tremlow through the stories she relates.
There are a host of others interviewed, some more famous than others, who all speak about working with Twemlow during the 1980’s on film’s that to this day have never seen the light of day. What becomes a recurring motif in the film is that it would appear Twemlow much preferred the shooting of a film than the post production, with several of his films being uncomplete, be it through financial circumstances or due to Twemlow’s changing focus. Only his secondary career as a musician seemed to keep him afloat during this time.
Running at just over 2 hours, West makes sure the pace never lags, utilising a mixture of talking head interviews, movie clips and some well implemented animations. The style of the documentary was slightly reminiscent of Mark Hartley’ work on Not Quite Hollywood (2008) or Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014). Some of the anecdotes of the interviews are absolutely hilarious, resulting in the audience I viewed it with roaring with laughter.
It isn’t all laughs though, with West sure to show the emotional ups and downs of Twemlow’s life. While it doesn’t dwell on the sadder aspects of Twemlow’s life, West ensures to show the toll that his professional life had on him, with it being an almost riches to rags tale.
Having died over 30 years ago, it’s heartwarming to see that West has, with his time and dedication, created a wonderful tribute to Twemlow, bringing him back into the public eye so many years after his passing. Anyone who has seen West’s previous documentary films should have an idea of what to expect but Mancunian Man: The Legendary Life of Cliff Twemlow easily surpasses his previous work.
West has spoken of there being a physical release planned later in the year, with the possibility of it including some of Twemlow’s films. Even if you have never heard of Cliff Twemlow I would urge anyone to give this documentary a go. They will not be disappointed.
Rating: 4.5
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