The Film
Thanks to the controversy that accompanied its release, this British film reconstructing some of the crimes of serial robber and killer Donald Nielson has gone almost unseen since 1978. Happily the BFI Flipside label, which specialises in reissuing long unseen British films from the 60’s and 70’s, has dug up The Black Panther, allowing us to see it for both the minor classic and the small landmark in British cinema that I would contend it is.

True crime stories have always fascinated both filmgoers and filmmakers, and they have served both as inspiration for fictional stories (Hitchcock’s first acknowledged classic, The Lodger, drew much of its inspiration from the Jack the Ripper case) and been told in a much more straightforward ‘factual’ manner. The Black Panther definitely falls into the latter category, eschewing much in the way of traditional suspense or thrills for a slow-moving but detailed reconstruction of Nielson’s crimes leading up to the kidnap and murder of heiress Leslie Whittle. It may not be a traditional thriller (the Police, for example, are barely a presence), but as a character study of a deeply disturbed and dangerous man, The Black Panther grips like a vice.

Donald Sumpter plays Nielson; a former army man with a fondness for guns and a clear difficulty in relating to real people (though, in an intriguing scene, we see him crying and bemoaning a film’s sad ending), with a terrifying simplicity and directness. The only other really major role – Nielson’s wife and daughter drift through scenes as background noise in his life – is that of Leslie Whittle, and Debbie Farrington plays the shock and terror that Whittle must have felt effectively, and is affecting when Leslie tries to make some kind of connection with her kidnapper. The only negative in regard to the Leslie Whittle scenes is perhaps that Farrington’s brief full frontal nudity is the one time the film nods to the exploitation audience and, while it’s likely a correct detail, it feels like the one moment that director Ian Merrick probably should have turned his otherwise unflinching eye away for a moment.

I wonder whether, despite the film’s relative obscurity, a certain John McNaughton saw it, because the film I was most reminded of while watching The Black Panther was McNaughton’s terrifying and brilliant Henry: Portrait of a Serial Killer. Both films immerse us in the procedures of a murderer, and provide little context for why he is that way. Henry perhaps offers slightly more explanation, and a good deal less hope, but where both films really distinguish themselves is with a leading performance that delves deep into the sickness of the main character, and never lets us question the reality of what is unfolding in front of us, making it all the more disturbing.

Ian Merrick’s direction lacks any gloss or glamour. The violence is not stylish, and is deployed for only brief and shocking moments. The standout moment of violence, clearly, is that of Leslie Whittle’s death, which Merrick largely implies and keeps offscreen, but without sacrificing any of the shock or disgust of the act.

With both the controversy and Donald Nielson long faded from national consciousness, The Black Panther deserves to be seen, at last, as the minor British classic that it is.

The Disc
While you have to manage your expectations, given the film’s age and obscurity, the picture quality that the BFI Flipside team have delivered on this release is little short of astonishing. The print appears to be in genuinely excellent condition, and I noticed very few instances of scratches or dirt. Grain is heavy, but natural, and certainly the natural texture displayed here is preferable to the use of DNR. The transfer also manages black levels effectively; essential given the sheer amount of night time scenes. Detail is good, though a little softer than the top rank of catalogue Blu Ray releases, but still, this transfer is one to write home about. Sound is only the original Mono track, but it’s perfectly clear and serviceable, and the film has so little dialogue that much of it could very easily work as a silent film.

The Extras
All the extras related to The Black Panther come in a booklet. Included are retrospective essays by Critic and Historian James Oliver, Director Ian Merrick and Screenwriter Michael Armstrong, all of which are fascinating and well written. There is also a short contemporary review by Tim Pulleine.

On the disc itself we are treated to a short film; Recluse, also in HD, and about the last day of the Luxton brothers and their Sister before a murder-suicide, the exact details of which remain controversial. A quiet, reflective film, lacking in sensationalism, it’s well worth watching. Also worth watching is Recluse director Bob Bently’s recce footage, with his commentary. Both Recluse and the recce footage look amazing, though they are rather more damaged than the main feature.

Overall
The Black Panther is another outstanding release from BFI Flipside, and finally digs up a film that deserves a much greater profile and reputation than it has ever previously had. If you’ve an interest in obscure cinema, or even in British or serial killer cinema more generally, I’d say it’s all but an essential purchase.

The Black Panther is released as a Dual Format Blu Ray and DVD release on May 28th. Thanks to the BFI for the screener.