I was not around in 1974 to witness the first television outing of Alan Clarke’s Penda’s Fen. Broadcast only seven years after sex between men was partially decriminalised in England and Wales, this enigmatic film was beamed into the nation’s living rooms with an audacity that remains giddying today.
Some commentators have suggested that the film “seems a world away” from the gritty social commentary of Clarke’s Scum (1977) and The Firm (1989). But Penda’s Fen recognises that unruly desire – manifested within the film in Blakean visions of angels, demons and the pagan King Penda – is political.
Stephen, a classical music-loving, left-wing-despising rector’s son, lives among the green and pleasant Malvern Hills, where he plays at being an impeccably uniformed cadet and struggles to suppress his delirious sexual desire for other boys.
