The Final Programme (film)

Goodtimes Enterprises

Industry	Film production
Founder	David Puttnam, Roy Baird, Sandy Lieberson
Headquarters	United Kingdom
Key people	David Puttnam, Roy Baird, Sandy Lieberson
Products	Films (including The Final Programme)

The Final Programme (known in the U.S. as The Last Days of Man on Earth) is a 1973 British fantasy and science fiction motion picture directed by Robert Fuest, featuring performances by Jon Finch and Jenny Runacre. Adapted from Michael Moorcock's 1968 novel The Final Programme, with a screenplay co-written by Fuest, it stands as the sole Moorcock novel ever brought to the screen and is considered a landmark within British science fiction cinema.

Plot synopsis

The narrative opens in Lapland during the funeral of Jerry Cornelius's father, a Nobel laureate scientist who created the "Final Programme," a blueprint for an ideal, self-replicating human being. Jerry, a charismatic physicist and playboy, is interrogated by Dr Smiles about recovering microfilm concealed in the Cornelius family estate back in England. Flashbacks depict a dystopian, post-apocalyptic environment where traditional institutions such as the Vatican have disappeared and cities like Amsterdam lie in ruins.

Back in Britain, Dr Smiles and Miss Brunner lead a group of scientists attempting to convince Jerry to locate the microfilm. Jerry discovers that his sister Catherine is imprisoned and addicted to drugs under the control of their brother Frank. After ordering his servant to free Catherine, Jerry readies himself to confront Frank, supported by allies who provide him with a jet and supplies of napalm.

Jerry’s attack on the family mansion overcomes various security measures but tragically results in Catherine’s accidental death and Frank’s capture by Miss Brunner. However, Frank outwits Brunner and escapes with the microfilm. After recovering, Jerry teams up with Brunner to pursue Frank, culminating in further clashes that lead to Frank’s demise. Subsequently, Jerry and Brunner return to Lapland bearing the microfilm.

The scientists commence the Final Programme, which requires Miss Brunner to merge with another individual into a hermaphroditic entity. Brunner chooses Jerry over Dmitri, who narrowly escapes her deadly trap but sustains injuries during a confrontation with Jerry. As the experiment reaches its peak under intense solar radiation, Jerry and Brunner fuse together, causing extensive destruction within the laboratory and resulting in the death or incapacitation of most staff members. The transformed being—Jerry altered into an archaic hominid form—emerges uncertain of its identity but conscious that its creation signifies the conclusion of an era. It leaves Brunner’s facility, observing the world as "a very tasty world."

Cast

• Jon Finch as Jerry Cornelius
• Jenny Runacre as Miss Brunner
• Hugh Griffith as Professor Hira
• Patrick Magee as Dr. Baxter
• Sterling Hayden as Major Wrongway Lindbergh
• Ronald Lacey as Shades
• Harry Andrews as John
• Graham Crowden as Dr. Smiles
• George Coulouris as Dr. Powys
• Basil Henson as Dr. Lucas
• Derrick O'Connor as Frank
• Sarah Douglas as Catherine
• Sandy Ratcliff as Jenny (credited as Sandy Ratcliffe)
• Julie Ege as Miss Dazzle
• Gilles Millinaire as Dmitri
• Sandra Dickinson as Waitress

Production

Originally, Michael Moorcock had intended for space-rock group Hawkwind to compose the soundtrack and appear prominently in one scene; however, director Robert Fuest declined this idea, opting instead for music influenced by jazz. Moorcock commended the actors’ performances and noted that they conveyed his intended dark humor only after being informed that the film was meant to be comedic.

Goodtimes Enterprises—a UK production company headed by David Puttnam, Roy Baird, and Sandy Lieberson known for films such as Performance (1970) and The Pied Piper (1972)—secured the screen rights. Lieberson initiated development due to his appreciation for Moorcock’s writing and the character Jerry Cornelius.

EMI Films agreed to finance the project contingent upon Fuest directing it. Fuest aimed to expand on the fantasy elements present in his earlier work; although he found the novel "very weird," he recognized its potential. Dissatisfied with previous scripts, he authored his own screenplay despite Moorcock’s disapproval.

Lieberson recalled that Fuest was determined to oversee directing, writing, and design aspects of the film, assuming comprehensive creative control and establishing himself as an auteur. While Lieberson found the film intriguing overall, he felt it lost some momentum toward its conclusion.

Funding was provided jointly by EMI Films and the National Film Finance Corporation.

Release

Moorcock revealed that the movie was originally screened as the leading feature in a double bill alongside Intimate Confessions of a Chinese Courtesan (1972), before subsequently being relegated to the secondary position. The U.S. distribution rights were obtained by Roger Corman, who trimmed the film by 13 minutes.

Reception

In The Monthly Film Bulletin, Alistair Whyte observed director Robert Fuest’s transition from horror to science fiction, noting his retention of familiar elements such as cameo appearances by established actors, dark humor, and intricately designed sets crafted by Fuest himself. Nevertheless, Whyte criticized Jon Finch’s performance for lacking presence and argued the film favored visual flair over narrative clarity.

Baird Searles labeled the film "nearly an unmitigated failure," particularly denouncing its conclusion.

David Parkinson, writing for The Radio Times Guide to Films, assigned a 2 out of 5 star rating, emphasizing Fuest’s prioritization of visual style over logical storytelling in this adaptation of Moorcock's Jerry Cornelius narrative.

When released on DVD in the UK in 2013, The Guardian commended Fuest’s bold visual approach and imaginative imagery despite the plot’s lack of coherence, highlighting its enigmatic humor and surreal moments such as nuns engaging with fruit machines amid apocalyptic scenes.

Moorcock himself disparaged the direction as "sloppy and dull" and described the acting as inconsistent, although he did express approval of the casting choices.

Home video releases

In 2001, The Final Programme became available on DVD and VHS in the United States through Anchor Bay Entertainment. This DVD edition included a digitally restored print accompanied by audio commentary from director Fuest and actress Runacre, along with the American theatrical trailer, a TV advertisement, and a reproduction of the British poster insert.

On 7 October 2013, Network issued a UK DVD featuring a newly created transfer sourced from original materials. This release provided both the 1.77:1 theatrical aspect ratio and a full-frame version. Additional content comprised original trailers, an Italian opening sequence, an image gallery, and promotional PDFs.

Shout! Factory released a Blu-ray edition in the U.S. on 7 January 2020 with a 1.85:1 aspect ratio presentation. Supplementary materials included commentary by Fuest and Runacre moderated by film historian Jonathan Sothcott, as well as the U.S. theatrical trailer and TV spot previously included on the Anchor Bay DVD.

Bibliography

• Hardy, Phil (1995), The Overlook Film Encyclopedia: Science Fiction, The Overlook Press, pp. 310–311,
• Hochscherf, Tobias & Leggott, James (2011), British Science Fiction Film and Television: Critical Essays, McFarland & Company, Inc., pp. 60–72,
• Hunter, I.Q. (1999), British Science Fiction Cinema (British Popular Cinema), Routledge, p. 210,
• Willis, Donald C. (1985), Variety's Complete Science Fiction Reviews, Garland Publishing, Inc., p. 304,