Slayground
| Company type | Film |
|---|---|
| Industry | Film industry |
| Founded | 1983 |
| Founder | Terry Bedford (director), Trevor Preston (writer) |
| Products | Crime thriller film |
Slayground is a British crime thriller from 1983, directed by Terry Bedford and featuring performances by Peter Coyote, Mel Smith, and Billie Whitelaw. The script, written by Trevor Preston, is an adaptation of Slayground, the 14th installment in the Parker series (1971) authored by Donald E. Westlake under the pseudonym Richard Stark.
Cast
- Peter Coyote portraying Stone
- Mel Smith as Terry Abbatt
- Billie Whitelaw in the role of Madge
- Philip Sayer as Costello
- Bill Luhrs playing Joe Sheer
- Marie Masters as Joni
- Clarence Felder in the role of Orxel
- Ned Eisenberg as Lonzini
- David Hayward portraying Laufman
- Michael M. Ryan as Danard
- Barrett Mulligan playing Lucy
- Kelli Maroney as Jolene
- Margareta Arvidssen in the role of Grete
- Rosemary Martin as Dr. King
- Malcolm Terris playing Venner
- Jon Morrison as Webb
- Cassie Stuart portraying Fran
- Debby Bishop as Beth
- Stephen Yardley in the role of Turner
- P. H. Moriarty as Seeley
- Zig Byfield playing Sams
- Erick Ray Evans as Malpas
- Bill Dean performing as compére
- Ozzie Yue cast as waiter
- Tony Devon in the role of Joey
Production
Initially overseen by Barry Spikins at EMI Films, the project transitioned to Verity Lambert’s leadership after Spikins left early in 1983. Slayground was the inaugural production under Lambert’s direction, who also managed titles such as Comfort and Joy, Illegal Aliens (which was later retitled Morons from Outer Space), and Dreamchild. Despite some initial hesitation, Lambert recognized the distributors’ strong belief in the film’s marketability.
Filming wrapped up by November 1983, with Lambert expressing optimism about the global resonance of these films. Scholar Paul Moody highlights Slayground as marking a pivotal transition for EMI, moving away from thrillers set in America toward narratives deeply embedded in British culture. The story’s relocation to England during its latter portion symbolizes this strategic reorientation towards a distinctly English gothic atmosphere, signifying EMI’s renewed focus on domestic settings and themes.
Reception
The Monthly Film Bulletin labeled Slayground a "disappointingly lame front-runner" for EMI, emphasizing director Terry Bedford’s lack of experience despite his cinematography background. The movie is characterized by overbearing camera techniques and familiar crime thriller clichés, culminating in a predictable shootout set at a fairground. The depiction of the anonymous killer was found to be ineffective and excessively stylized, undermining the story’s overall impact.
Leslie Halliwell described it as "one of those tedious and violent films where the criminal ultimately prevails," noting that its polished production values only served to diminish the viewer’s experience.
External links
- Slayground at the British Film Institute
- Slayground on Letterbox DVD
- Slayground at British Horror Film website
- Review of novel hosted by the Westlake Review
- Book information at Donald Westlake's official site