Tape trauma

Front cover of a VHS tape of 1984 cult comedy mystery film 'Repo Man', showing, in the foreground, star Emilio Estevez in front of a car with a group of menacing looking men, one wearing a balaclava and holding a gun

In the late eighties I lived in the East End of London and I used to rent movies from a little video shop on the A11 near Bow Road underground station. The routine – you might remember this – involved picking up a video on the way home from the tube and returning it in the morning. But life changed, I left college and got a job. Things got busy and I just stopped going up to Bow Road. Then one day, of course, I found a tape in the VCR, rented at some point in the distant past, waiting to be returned (pretty sure it wasn’t Repo Man).

Anyway, I was aware of the terrible, ineluctable logic of the videotape late fee. Everyone was in those days, it was a fact of life. No tape rental guy had ever forgiven a late fee, there was no such thing as a discount or time to pay or any kind of compromise. These guys looked like soft-eyed dweebs but we all knew they were backed up by brutes who’d come round and kneecap you for the fee if it went unpaid.

I left the tape there in the kitchen for a few days but it was haunting me. I mean the economics of the matter. I couldn’t sleep. Videotape late fees could only go up and they would never stop. I was watching my life disappear into a videotape-shaped void. You have to know, this wasn’t like dealing with the credit card company or the car loan people. There was no reasoning with a video shop, no restructuring, no resort to arbitration.

VHS tape and case from 1980 UK gangster film The Long Good Friday. The case illustration shows some of the cast, including Bob Hoskins and Helen Mirren against explosions and violence

So one morning, accepting the inevitable, I nervously took it up to Bow Road and handed it to the man behind the counter, quivering, trying to smile. He looked it up in his entirely non-computerised records, noted the rental date, raised an eyebrow and calculated my late fee – a daily sum multiplied by months and months. “Four hundred and ninety pounds” he said. At this point I could easily have cried or fainted or something. That would be at least a month’s wages, several months of rent – a ridiculous, comically-large sum of money for a schlub like me at that point, in my cheap suit.

We looked at each other. I instinctively knew what to do and he apparently did too. I said “okay thanks” or something, turned around and walked out. Be aware: this is not what usually happened. What usually happened was you blanched at the number, hesitated and then got your wallet out and paid up while videotape guy just watched. There could be no pleasantries in that moment, no chit-chat. Nothing at all till after the register drawer was closed.

Videotape cassette for 1985 Brat Pack movie The Breakfast Club. The tape label shows the cast in a friendly huddle against a white background.

On this occasion, though, he said nothing; didn’t demand payment, nor shout as I left, nor follow me out into the street, despite the iron law, the terrifying rigidity of the video shop fines regime. He just watched me go. So I treasure that moment. A parable of some kind – the silent agreement, the mutual acceptance of the absurdity of the situation, its irresolvability. I never went back and I never heard from that video shop again. And then, at some point, that whole chapter in the history of media technology closed, VHS tapes became awful, unrecyclable landfill, charity shop poison, undisposable at any cost. History drew a line around that moment in time and froze it forever.