6.6/10
81
5 user 2 critic

Blue Black Permanent (1992)

| Drama
Barbara Thorburn wiles away the hours with memories of Greta, her mother, the poet.

Director:

Margaret Tait

Writer:

Margaret Tait (original screenplay)
Reviews
1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Celia Imrie ... Barbara Thorburn
Jack Shepherd ... Philip Lomax
Gerda Stevenson Gerda Stevenson ... Greta Thorburn
James Fleet ... Jim Thorburn
Sean Scanlan Sean Scanlan ... Andrew Cunningham
Hilary Maclean Hilary Maclean ... Wendy
Walter Leask Walter Leask ... Sam Kelday
Sheana Marr Sheana Marr ... Mrs. Kemp
Eoin MacDonald Eoin MacDonald ... Dan of Fea
Jimmy Moar Jimmy Moar ... Billy Spence
Liz Robertson Liz Robertson ... Mary Kelday
Bobby Bews Bobby Bews ... Grandfather Bews
Keith Hutcheon Keith Hutcheon ... Roger
Mairi Wallace Mairi Wallace ... Shoe Salesgirl
Pamela Kelly Pamela Kelly ... Mrs. Brodie
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Storyline

Barbara Thorburn wiles away the hours with memories of Greta, her mother, the poet.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

UK

Language:

English

Filming Locations:

Edinburgh, Scotland, UK See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby

Color:

Color
See full technical specs »
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Did You Know?

Soundtracks

Fisherman's Hymn
(from the Isle of Man)
Tune: Peel Castle (traditional)
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User Reviews

 
A strange, somewhat banal picture
22 August 2018 | by Martin BradleySee all my reviews

The only feature film to be directed by Margaret Tait, made when she was in her seventies, is this memory piece that looks at the lives of three generations of Scottish women. It's a demanding, non-narrative picture as much concerned with buildings, props and landscapes as it is with people. Indeed, with the exception of the superb Gerda Stevenson, the rest of the cast act in a blank, one-dimensional fashion. Tait obviusly had no real experience of working with actors and her dialogue is largely banal. It is the look of the film that matters and even that is largely banal, too. Tait photographs everyday objects with an almost fetishistic glee. It might have been a better film had she dispensed with dialogue altogether. Apart from the odd art-house screening at the time of its (very limited) release it hasn't been much seen and has now built up something of an (undeserved) cult reputation.


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