Over at Ferdy on Film the Invitation to the Dance Movie Blogathon is in full swing and lots of people are sharing their thoughts about their favorite dance moments captured on film and debating the merits of individual dancers. I’m currently writing a longer piece about one of my favorite dance movies that I hope to finish up soon. But in the meantime I thought I’d share one of my favorite dance scenes.
The following clip is from the 1980 Umberto Lenzi film Nightmare City, which was originally shot in 1979 and it features some of the worst dancing I’ve ever seen in any film. Thankfully I’m not alone in my dislike for the dancing showcased in Nightmare City. As the following clip will clearly demonstrate, zombies don’t care for bad dancing either and they proceed to dismember the female offenders and eat them alive. This clip is gory and not for the faint of heart. But if you can withstand the cheap special effects and Stelvio Cipriani’s electronic euro-disco score, you might enjoy it as much as I do!
By 1973 Elizabeth Taylor and Richard Burton’s nine year marriage was coming to an end and both actors wanted to focus on their individual careers. Night Watch (1973) features one of Taylor’s few solo performances as an actress while she was married to Burton and it’s one of my favorite Elizabeth Taylor films from the 70s’ for multiple reasons. First and foremost, it’s a thriller and I love a good creepy thriller with an unexpected twist ending. The film also stars the gorgeous Laurence Harvey who had previously appeared with Taylor in the Oscar winning melodrama Butterfield 8 (1960) and I enjoy watching Taylor and Harvey together. Not only do they both provide some incredible eye-candy on screen, but I also think they have an interesting chemistry when they’re teamed-up. Taylor also delivers one of her most unusual and unexpected performances in Night Watch that clearly mocks some of her previous roles while playing smartly with audience expectations. And lastly, Night Watch evokes many of my favorite Alfred Hitchcock films.
The film was based on a play by Lucille Fletcher who made a name for herself writing suspenseful radio plays in the early forties such as The Hitch-Hiker (1941), which was originally performed by Orson Welles and The Campbell Playhouse and later turned into an episode of The Twilight Zone, as well as Sorry, Wrong Number (1946), which became an Oscar nominated film in 1947 directed by Anatole Litvak. Lucille Fletcher was married to the great film composer Bernard Herrmann, who also got his start working with Welles on classic films like Citizen Kane (1941) and The Magnificent Ambersons (1942) before he made an even bigger name for himself composing scores for popular Alfred Hitchcock thrillers like Vertigo (1958), North by Northwest (1959) and Psycho (1960). Although Lucille Fletcher and Bernard Herrmann divorced in 1948, it’s impossible to watch Night Watch and not be reminded of many of Hitchcock’s best films. The script seems to borrow a bit from Rebecca (1940), Suspicion (1941), Dial M for Murder (1954), Rear Window (1954) and Psycho (1960), while combing a few elements of Fletcher’s earlier plays.
Top: Elizabeth Taylor watches a murder take place
Middle: Taylor dreams of hospital morgues
Bottom: The corpse of Linda Hayden gets her kill face on*
In Night Watch Elizabeth Taylor plays a reclusive wealthy woman called Ellen Wheller who suspects that her current husband John (Laurence Harvey) and best friend Sarah (Billie Whitelaw) might be having an affair behind her back. Things take an odd turn one dark and stormy night when Taylor peers through a window and much like James Stewart in Hitchcock’s Rear Window, she thinks she’s seen a murder take place in an old abandoned house next to her own home. Since she’s prone to hysteria her husband doesn’t exactly believe her, but he reluctantly calls the police anyway. When the police finally arrive and search the house next door they find no evidence that a murder has happened there, but Taylor suspects that her neighbor (Robert Lang) might be involved and remains convinced that she’s seen a horrendous crime. Elizabeth Taylor’s character is also plagued by terrible nightmares involving her first husband (Kevin Colson) who was killed in a car crash that occurred when he was fooling around with a pretty young woman (Linda Hayden) while driving. Her continuous nightmares and concerns about her husband’s infidelity cause her a lot of anxiety and as the film progresses Taylor’s character tries to numb her emotional pain and strange visions with alcohol and numerous pills often administrated by her husband and friend. Are horrible crimes taking place in the old abandoned house next door or are they a figment of Elizabeth Taylor’s disturbed mind? Is Laurence Harvey trying to kill Taylor or drive her mad and take control of her fortune? The surprising answers to these questions are unveiled in the film’s shocking climax!
Warning - before you keep reading I suggest stopping here unless you’re familiar with the film because there are spoilers ahead and being aware of the film’s important plot twists before you have the opportunity to see Night Watch can definitely ruin the effectiveness of the film!
On the surface, the plot of Night Watch appears to be similar to many “women-in-peril” thrillers, but just when you assume you know the direction the film is taking, Night Watch explodes in a bloody finale that’s sure to leave a few viewers shocked. Instead of playing the typical female victim prone to hysteria, Taylor turns out to be a cold and calculating murderess who brutally kills her philandering husband and best friend before gracefully exiting the film in grand style.
Top: Elizabeth Taylor and Laurence Harvey
Bottom: Robert Lang and Billie Whitelaw
Night Watch was directed by the American director Brian G. Hutton whose other films include Where Eagles Dare (1968) with Richard Burton and Clint Eastwood, as well as Zee and Co. (1972) which also featured Elizabeth Taylor along with Michael Caine, Susannah York and Margaret Leighton (who was once married to Lawrence Harvey). With Night Watch, the director was able to create a suspenseful atmosphere and maintain it throughout the course of the film. Since the story takes place in London with a mostly British cast, the film is reminiscent of other great British thrillers released during the same period. The film also contains closeup shots of gloved hands and large kitchen knives that were commonly seen in numerous giallo films at the time. Hutton’s directing skills are really on display during Taylor’s extremely eerie and effective nightmare sequences, which are creatively shot with the help of the Oscar winning British cinematographer Billy Williams. The director manages to include some interesting visual clues that suggest that Elizabeth Taylor is controlling the events unfolding in the film. Taylor’s constantly seen playing with a puzzle and trying to fit the pieces together while the audience is left in the dark tripping over multiple red-herrings.
The Italian designer Valentino made all of Taylor’s outfits for the film and frankly I just get a big kick out seeing Taylor playing a crazy hard-drinking pill-popping woman wearing fabulous purple robes designed by Valentino. Thankfully she also gets to wear some low-key tailored Valentino fashions in the film as well. She was no longer the slender young woman seen in her earlier roles, but she still looks terrific in Night Watch in my opinion and manages to make the most of her role. Her performance is surprisingly nuanced and probably somewhat inspired by Anthony Perkins turn as Norman Bates in Hitchcock’s Psycho. Even the murders she commits in the film are slightly reminiscent of the way Bates killed his victims, but I’ve rarely seen any actor seem to have so much fun pretending to cut their co-stars’ throats. During the frantic murder scene at the end of the film Taylor looks utterly maniacal and plain frightening.
None of the other actors in the film besides Laurence Harvey, Billie Whitelaw and Robert Lang get more than a few minutes of screen time, which is a shame. I really like the British actress Linda Hayden who’s appeared in some great British horror films and she’s wonderfully creepy in Night Watch, but she has no dialogue in the film and if you blink you just might miss her.
Elizabeth Taylor and Laurence Harvey become friends on the set of Butterfield 8 and remained close until his untimely death. Both actors were heavy drinkers and their careers were in decline when they decided to team up again and make Night Watch in late 1972. Taylor and Harvey ended up having such a terrific time on the set of the film together that they started making plans to co-star in another thriller in the near future, but unfortunately it never happened. Harvey was diagnosed with cancer during the making of Night Watch and it’s assumed that he was in considerable pain during filming. His performance here is rather low-key and seems to suggest that he wasn’t feeling his best, but he’s still very believable as Taylor’s neglectful husband. Sadly, Laurence Harvey died just three months after Night Watch was released.
Top: Taylor channeling the spirit of Anthony Perkins as Norman Bates
Middle: Billie Whitelaw suffers the same fate as Janet Leigh in Psycho
Bottom: Comparison shot of Janet Leigh from Psycho
Night Watch is currently only available as a poor quality pan and scan video at the moment and I’d really like to see Brian G. Hutton’s film get restored and released on DVD since it should definitely hold appeal for Elizabeth Taylor fans and anyone who enjoys unusual Hitchcock inspired thrillers. I’ve heard rumors that a PAL Region 2 DVD of Night Watch might be released later this year, but I haven’t been able to confirm it anywhere. If anyone else happens to know anything about the rumored PAL Region 2 DVD release of Night Watch, please let me know!
I’m currently busy writing about some of my favorite Post-1966 Elizabeth Taylor films, but I wanted to share some fantastic news I stumbled across while I was roaming around online.
Two of my favorite television shows from the ‘60s and ‘70s are Rod Serling’s The Twilight Zone (1959-64) and Night Gallery (1970-73). CBS and NBC recently launched two new sub-sites called CBS Classics and NBC’s Way Back Wednesdays where you can view episodes of these classic horror/science fiction shows free online at anytime. CBS has made many episodes of The Twilight Zone available, as well as episodes of the original Star Trek (1966-69) and Hawaii Five-O (1968-80) and every Wednesday NBC is making an episode of Rod Serling’s Night Gallery available, along with episodes of other popular shows such as The Alfred Hitchcock Hour (1962-65), the original Battlestar Galactica (1978-79) and Emergency (1972-79).
If you’re somehow unfamiliar with Rod Serling’s The Twilight Zone and Night Gallery this is a great opportunity to see episodes of these classic television programs. Both shows featured gifted actors often giving some of their best performances and they were written and directed by some of television’s greatest talents, including Rod Serling himself. Many episodes of The Twilight Zone and Night Gallery still give me the creeps and they’re guaranteed to give new viewers a nightmare or two. If you’re already familiar with these critically acclaimed shows you can now become reacquainted with them free of charge. For more information please check out the links I’ve posted below:
Normally I don’t discuss modern films here at Cinebeats, but after seeing Cloverfield on Monday night I’ve been thinking about the movie all week. I decided to follow up my viewing by reading some of the criticism the film has been receiving, which probably wasn’t the smartest idea since much of it left me cold. Thankfully I’m not alone in my excitement about the film since Tim Lucas seems to have enjoyed it as much as I did and I figured I’d weigh in myself.
As a lifelong horror fan and monster movie enthusiast I found myself reserved, but excited when the ad campaign for Cloverfield started. Compared to the boring and often redundant advertising that typically prepares you for a new film’s release (quotes from well paid critics or highlights from an otherwise lackluster production), Cloverfield used an abstruse marketing campaign designed to keep audiences in the dark about the film and its giant monster. At the same time it also borrowed from the golden age of horror movie marketing that was mastered by directors like William Castle back in the ’50s and early ’60s. I was thrilled by the mere fact that Cloverfield was an original film. At a time when remakes and sequels are the norm, and audiences have a library of classic films on DVD at their disposal, a good original horror or science fiction film should be celebrated and Cloverfield is well worth celebrating. Instead of appreciating what the film does get right, many critics seem to enjoy pointing out what they consider to be the film’s three main flaws, so I thought I’d address them in three easy to follow steps. (more…)
Attention horror aficionados! At The Evening Class Michael Guillen has organized a Blogathon to celebrate the work of Val Lewton in conjunction with the new Val Lewton documentary produced by Martin Scorsese called The Man in the Shadows, which premieres on Turner Movie Classics (TCM) tonight. Lewton produced and wrote some of my favorite horror films from the ’40s, including his under-appreciated classic The Seventh Victim. The Seventh Victim was directed by the great Mark Robson, who made some terrific films for Lewton, but I think The Seventh Victim is their best joint effort. The movie even made my own list of 31 Films That Give Me the Willies, which I compiled for Halloween.
Over at Final Girl Stace Ponder is hosting her monthly film club, which takes a look a Dario Argento’s horrific masterpiece Suspiria. Her blog readers were asked to watch the film and participate in writing about the movie and there’s some nice observations being shared there.
I had planned in participating in both events by writing about the way Lewton’s The Seventh Victim influenced Dario Argento Suspiria and informed Italian horror cinema in general, but a head cold and pressing deadlines for other writing projects I’m currently working on sort of got in the way of my weekend plans, but don’t let my absence stop you from participating in these fun events! If you’re not up for writing about Val Lewton or Dario Argento’s Suspiria you can still participate by reading all the posts and offering up your own comments.
From the trustworthy Arbogast and various other online sources comes the sad news that the iconic horror hostess and actress Vampira (aka Maila Nurmi) has passed away at the age of 86. If you’ve read my blog long enough, you’re probably aware that I have a deep affection for horror hosts and I greatly admired the lovely Vampira. She was the original bad girl of late night TV and paved the way for many other men and women to follow in her footsteps. Even though I’ve never been a horror hostess myself, I’ve definitely been inspired by women like Vampira and her followers such as Elvira (aka Cassandra Peterson) over the years.
Maila Nurmi was a beautiful woman and she lived a long and fascinating life. If you’d like to learn more about her I recommend the following links:
Despite its somewhat misleading title, Scream… and Die! (1973) is an interesting film directed by José Ramón Larraz that is well worth a look if you enjoy unusual European thrillers. Larraz is a talented Spanish director who’s mostly known by American film audiences as the man behind the erotic horror film Vampyres (1974) and only a few of his other films are easily accessible on DVD and video in the U.S. His 1973 feature Scream… and Die! has been available on video since the ‘80s, but it was recently released by Jef films on DVD.
Larraz’s films tend to generate strong reactions from their detractors. The director seems to enjoy playing with genre expectations and the eroticism and violence in his movies can be rather explicit, but if you’re willing to give Larraz the benefit of the doubt and go into his films without any preconceptions, you might be surprised by what you find. One of Larraz’s strong points is his ability to mix complex and adult story elements into his horror films that can also be enjoyed simply for their entertainment value. His early films like Scream… and Die! are also extremely stylish and creatively shot, especially when you factor in the low budget he was usually working with. Larraz was definitely one of the most interesting directors to come out of Spain in the seventies. His film Symptoms was nominated for a Golden Palm at Cannes in 1974 and he seems to have many fans now, thanks to books like Immoral Tales: European Sex & Horror Movies 1956-1984, but even among Larraz’ fans Scream… and Die! is often considered one of the director’s lesser works.
Scream… and Die! features the beautiful British actress Andrea Allan as an aspiring model named Valerie who’s dating a rather seedy fellow called Terry (Alex Leppard). One foggy night Valerie finds herself in the English countryside with Terry, who decides to loot an old estate hidden away deep in the woods. The couple soon find more than they bargained for when the home’s owner unexpectedly arrives at the house with a female guest. Valerie and Terry slip inside a closet and from their hiding place they watch a strange sexual encounter unfold between the homeowner and a woman that suddenly turns deadly. After witnessing the brutal murder of the woman, Valerie flees the crime scene and runs out of the house. When she realizes she’s being chased by the killer she stumbles into the woods and finally finds herself in an old junkyard where she hides in an abandoned car until morning comes. Once the sun rises Valerie hitches a ride back into town without Terry.
While Valerie contemplates the situation that she’s found herself in, she suddenly realizes the killer has returned Terry’s car and parked it outside her flat. Inside the car is Valerie’s modeling portfolio, which is missing a photo. It’s clear that the killer not only knows who Valerie is, but he also knows where she lives and he’s apparently stalking her. Unfortunately for Valerie she was never able to get a good look at the killer so his identity is a mystery. After consulting with friends about her situation, they tell her not to worry and warn her to be weary of going to the police since she could also be charged with a crime. They’re convinced that Terry must be involved in the bizarre events somehow and they offer to take Valerie back to the house where the murder took place, but she’s unable to locate it again. Like a strange dream, the killer and the crime scene seem to have vanished into thin air leaving Valerie confused and troubled.
The story takes another odd turn when Valerie meets a charming young man named Paul (Karl Lanchbury) selling Japanese-style Noh masks he designed at the photography studio where she works. Paul immediately takes an interest in Valerie and she’s instantly drawn to him as well. They quickly start up a romantic relationship, which seems to bother Paul’s Aunt who he also lives and works with. As the film progresses it becomes clear that Paul and his Aunt are involved in a troubling, incestuous relationship and the masks they make together seem to hide a deeper mystery.
In the meantime an unusual bearded man has moved into the first-floor flat of Valerie’s building. He’s a pigeon keeper and the birds he cares for are keeping Valerie awake at night and affecting her dreams. When Valerie’s roommate returns from a trip to Europe and is suddenly murdered, Valerie can no longer temper her fears and she’s forced to deal with the police and tell them everything that has happened. Her bohemian friends, the photographer she models for, the young mask maker and the pigeon keeper all become possible suspects, but most viewers will immediately know who the killer is.
Scream and Die! has elements of classic gialli films such as a killer who wears black leather gloves, but I don’t think the director is all that interested in the mystery aspects of his film. His approach to the material seems to confuse audiences who expect Scream and Die! to be a typical European thriller. Instead, Larraz offers observant audiences plenty of visual and verbal clues as to who the murderer is early on in the movie. Larraz has never seemed to care much for straightforward narratives so there’s no reason to expect typical storytelling here. It’s obvious the director is much more intent on exploring various themes about voyeurism and identity with Scream… and Die! instead of offering up simple thrills.
The film is filled with many telling visual motifs, including countless shots of people peering through windows and cameras that bring to mind Hitchcock’s Rear Window (1954). As a model, Valerie is constantly the subject of voyeurism from the photographer who takes her photos, the audience who watches her primp and pose and finally the director himself. Larraz clearly enjoys photographing his star and his camera spends a lot of time focused on her. As we watch her undress, take baths and simply drink a cup of coffee in her flat, it’s almost impossible to not feel like a “peeping Tom” yourself. Like Rear Window, an obvious streak of paranoia also runs through Scream… and Die!. Early in the film Valerie questions if she really witnessed a murder and as the film progresses she becomes more and more weary of everyone around her.
Many critics complain about the nudity in Lazrraz’s films and Scream… and Die! does contain nudity, but I personally don’t find it gratuitous. As I mentioned above, Larraz’s camera clearly enjoys photographing the film’s female star Andrea Allan, but her casual nudity in the movie is never very explicit and the mildly graphic sex scene in the film is more disturbing than erotic in my opinion. The scene in question has gotten a somewhat notorious reputation over the years when it’s mentioned in various horror books and publications and has even been called “Larraz’s most explicit sojourn into sordid sexual depths.” It involves the charming young mask maker Paul and his much older Aunt in a passionate, but deeply troubling sexual encounter. As I mentioned above, it’s clear that they’re relationship is incestuous and the sex scene perfectly conveys the domineering sexual power that Paul’s’ Aunt has over him.
Paul is played wonderfully by the talented British actor Karl Lanchbury who was a regular in some of Larraz’s early films including Whirlpool (1970), Deviation (1971) and Vampyres (1974). He’s really terrific in Scream… and Die! but he isn’t given enough to do in the film, even though he makes the most of his limited screen time. I wish the director had used Karl Lanchbury more, but Larraz always seemed more interested in his female stars and the male actors in his films are often given secondary roles. Andrea Allan is also very good as Valerie, but she seems a little reserved at times and not always fully committed to her role.
The film credits make it easy for audiences to assume that Scream… and Die! is a British production, but the movie was actually a Spanish/British co-production. Larraz shot most of the film in Britain, but some of it was also shot in Spain. The director seemed to really enjoy making films in England and many of his movies make great use of the British countryside and isolated country estates, which gives them a gothic atmosphere.
The script for Scream… and Die! was written by Derek Ford who often worked with the talented horror director Robert Hartford-Davis in the sixties. Ford was also a director in his own right and he made many British sexploitation films in the seventies before and after working on Scream… and Die! This film is definitely different from Ford’s other work and I’m sure that Larraz must have been involved in the writing as well as the direction of the film. One aspect of Scream… and Die! that I really enjoy is the creepy soundtrack by composer Terry Warr, which adds considerable depth and an eerie mood to the film. Warr had worked with Derek Ford before on some sex comedies, but surprisingly this seems to be the first and last time he ever composed music for a horror film.
I wish I could recommend the new Jef DVD of Scream… and Die! but it appears to just be a copy of the old video transfer. The film is extremely dark and it’s hard to make out what’s happening sometimes, which can be a little confusing. Hopefully a company like Severin will release Scream… and Die! on DVD in the future. I would love to see a restored widescreen print of the movie made available.
When it comes to blaxploitation horror films, the genre doesn’t get much better than Sugar Hill (1974) and I’m happy that I finally got the opportunity to see this low-budget gem a few weeks ago. The plot of Sugar Hill is rather simple and involves a beautiful and tough fashion photographer who goes by the same of Diana ‘Sugar’ Hill (Marki Bey). Sugar wants revenge on a group of ruthless mob members who killed her man in an effort to take over a popular nightclub he owned. Unfortunately for the criminals, Sugar’s man left the nightclub to her in his will and in order to take control of the club the mob is going to have to take Sugar down first, but that won’t be easy.
You see, Sugar has decided to enlist the help of a local voodoo priestess named Mama Celesete (Zara Cully) and the god of the dead who calls himself Baron Samedi (Don Pedro Colley). Together they raise a small army of zombie hit men to help Sugar take revenge on her man’s murderers. Of course, these aren’t just any zombies. Sugar’s undead army contains the corpses of angry ex-slaves and they have their own axe to grind with the gang of criminals, who are run by a wealthy white land owner named Morgan (Robert Quarry).
Sugar Hill doesn’t contain a lot of scary moments, but it definitely has a nice atmosphere at times and there are a couple of creepy and effective zombie scenes in the movie. The film does have a hell of a lot of attitude, a great voodoo inspired score and a terrific premise. It’s also creatively shot by director Paul Maslansky and cinematographer Robert C. Jessup.
As entertaining as the movie is, the real reason to watch Sugar Hill is to see Marki Bey’s truly terrific turn as Sugar. Bey delivers a powerful performance in the film that’s impossible to forget. She also gets to wear some really stunning ’70s style fashions that would make Diana Ross envious. I had seen Marki Bey in a few other roles such as Lanie in Hal Ashby’s film The Landlord (1970) and as Officer Minnie Kaplan in numerous episodes of the television series Starsky & Hutch (1977-79), but it was wonderful to watch her carry a whole film by herself. Bey really holds the movie together and she makes Sugar a sympathetic character that you can’t help but root for and want to believe in, even if she is a little bloodthirsty.
Unfortunately, Sugar Hill was one of the last films that Marki Bey ever appeared in. She seems to have stopped acting in 1979 after her recurring role in Starsky & Hutch ended, and I haven’t been able to come across any substantial information about the actress.
Sugar Hill was produced by the infamous Samuel Z. Arkoff and released by American International Pictures (AIP). It was the only film directed by Paul Maslansky, who’s much better known for the movies he produced in the seventies such as the atmospheric horror films Castle of the Living Dead (1964) and The She-Beast (1966), as well as drive-in favorites like Race with the Devil (1975), Hard Times (1975), Damnation Alley (1977) and Circle of Iron (1978). He’s also responsible for producing all the rather forgettable Police Academy movies. It’s a shame that he didn’t make more films because he clearly shows that he has some directing skills in Sugar Hill, even if the movie is a little fractured and slow moving at times.
A rather shabby looking print of Sugar Hill was released in the UK on Region 0 PAL DVD from ILC Prime, but it’s currently out of print. You can find bootleg copies of the film on eBay from time to time, but I really wish someone would restore the movie and release it in widescreen if possible. You can also still find copies of Sugar Hillon video at Amazon. It definetly deserves to be seen by a wider audience who enjoy other blaxploitation horror films like Blackula (1972) and Abby (1974).
I’m on vacation at the moment and enjoying the holiday, but I wanted to briefly mention that Curtis Harrington’s terrific 1973 thriller The Killing Kind was released this week on DVD for the first time and it’s my DVD pick of the week. Harrington is responsible for some of the most interesting and entertaining American horror movies and television productions of the sixties and seventies including Night Tide (which recently made my list of 31 films that give me the willies) as well as Games, How Awful About Allan, Whoever Slew Auntie Roo?, What’s the Matter with Helen? and Devil Dog: The Hound of Hell. The Killing Kind is one of the director’s best films and I’m really happy that it has finally found its way on to DVD thanks to Dark Sky Films, which has been releasing some great movies this year.
The Killing Kind stars John Savage (The Deer Hunter, Hair, The Onion Field, Do the Right Thing, etc.) in one of his earliest roles as a young man named Terry Lambert. Terry is an accused rapist who has recently been released from jail and is out for revenge. Savage is perfectly cast here as a sympathetic loner that you somehow sympathize with, but his innocent demeanor hides a dark and disturbed personality. Other stand out performances in The Killing Kind include Ann Sothern (Maisie, A Letter to Three Wives, The Blue Gardenia, Crazy Mama, etc.) as Terry Lambert’s overbearing mother Thelma. She carries on a strange and unhealthy relationship with her son that hints at sexual abuse. Their unusual family dynamic leads to Terry’s mental disintegration and finally has dire consequences for everyone. Luana Anders, Cindy Williams, Ruth Roman and Sue Bernard also have memorable roles here.
This extremely effective and creepy thriller might seem a little campy to some thanks to Ann Southern’s odd turn as Thelma Lambert, but I think it’s one of the smarter and more interesting movies made in the early seventies that attempted to explore the deranged mind of a sexual predator and killer. The film will remind some viewers of Hitchcock’s Psycho (1960), but Harrington brings his own insights and individual style to The Killing Kind.
Dark Sky’s widescreen DVD presentation of The Killing Kind runs 95 minutes long and contains optional English subtitles. It also features an interview with director Curtis Harrington, which unfortunately was his last since Harrington passed away earlier this year due to complications following a stroke. You can currently purchase The Killing Kind from Amazon for $17.99 (it retails for ($19.99) and it should be available for rent at online sources such as Netflix and Greencine.
Below is a clip from the interview with Curtis Harrington featured on the DVD, which also contains some scenes from the film:
Ghost Story (aka Madhouse Mansion) is an interesting low-budget independent horror film made in 1974 by the British director Stephen Weeks. The film tells the story of a small group of privileged young men in the 1930s that gather together for a weekend in the country at a sprawling British estate. As soon as they arrive, personality clashes, petty arguments and the gloomy environment start to wear on everyone’s nerves. To make matters worse, the estate’s owner (Murray Melvin) neglects to mention that the place might be haunted and when evening comes, one of the men (Larry Dann) begins having strange dreams and visions involving a creepy doll and the ghost of a beautiful young woman (Marianne Faithfull). As the story progresses the tenuous ties that bind the men together begin to unravel and the strange visions become more and more vivid, until they threaten to drive one of them mad.
The film suffers from its low-budget, Stephen Weeks’ lackluster direction and a distracting score by composer Ron Geesin, who some viewers might know from his work with Pink Floyd and Roger Waters. Weeks seems capable of creating an unsettling mood, but he has trouble sustaining it for any substantial period of time.
Even with the movie’s numerous problems, I still thought Ghost Story was an interesting supernatural film with a fascinating premise. It contains some truly eerie moments and dabbles in all sorts of interesting topics including incest, madness and the arcane arts, but unfortunately it never fully explores any of them.
Top: Larry Dann and Murray Melvin
Bottom: Vivian Mackerall and Leigh Lawson
My favorite thing about Ghost Story was Marianne Faithfull’s wonderful performance as a ghostly apparition. I adore Marianne Faithfull and she’s perfectly cast here as the tortured, yet lovely and effervescent Sophy. Marianne does a wonderful job of injecting the film with some much needed vitality and charm. The rest of the cast is good, but they often seem uncommitted to the material. The talented actress and Hammer regular Barbara Shelley also has a small role as the matron of a madhouse, but she’s never given enough screen time.
Marianne Faithfull had just overcome a rough patch in her personal life when she made Ghost Story. After her relationship with Mick Jagger ended, she lost custody of her son and became addicted to heroin. Thankfully she managed to pull herself together with the help of some friends and started acting again in television. Before making Ghost Story Marianne had appeared in numerous stage productions and had memorable roles in films such as Made in U.S.A. (1960), I’ll Never Forget What’s ‘is Name (1967) and The Girl on a Motorcycle (1968).
Director Stephen Weeks had only made a few films before making Ghost Story in 1974, including the entertaining Amicus production I, Monster (1971), which starred Christopher Lee and was based on Robert Louis Stevenson’s classic horror novel Dr. Jekyll & Mr. Hyde. The independently made Ghost Story has a much more adult script, but it lacks the raw energy found in I, Monster. I think both of his horror films are worth seeking out if you enjoy British horror movies with a gothic sensibility and period setting.
Unfortunately Ghost Story is only available on video at the moment and the print seems damaged and distorted. I, Monster is available on DVD from Image Entertainment, but the quality isn’t much better. Both films would really benefit from being restored and I’m sure I would enjoy them more if I was able to see them under better circumstances. Hopefully that will happen in the future.
One of the most unusual movies I’ve seen this year is the low-budget British horror film Neither the Sea Nor the Sand (1972), which was released on DVD from Redemption in January. This odd little movie was originally produced by Tigon, a British studio that was behind some of the most entertaining horror films of the late sixties and early seventies such as Blood on Satan’s Claw (1971), Witchfinder General (1968), Curse of the Crimson Altar (1968), The Blood Beast Terror (1968), The Nude Vampire (1970), Doomwatch (1972) and Virgin Witch (1972).
Neither the Sea Nor the Sand has suffered from negative reviews since its original theatrical release in 1972 and it hasn’t faired much better on DVD. Critics seem to enjoy pointing out the movie’s many flaws, but I think the film has something to offer more broad-minded viewers. Neither the Sea Nor the Sand is not a great film and many people won’t enjoy its atypical plot or be impressed with its strange charm, but it manages to create a somewhat unnerving atmosphere and sustain it throughout its 110-minute running time. It also makes great use of its coastal locations and offers viewers an interesting look at love after death.
This low-key and languid film tells the story of a tragic romance between the pretty Anna (Susan Hampshire) and her handsome lover Hugh (Michael Petrovitch). The ill-fated couple meet on a deserted beach one afternoon and are instantly drawn to one another. Anna is trapped in an unhappy marriage that she’s desperate to escape from, and Hugh is trying to distance himself from his domineering brother. As these two rather melancholy people come together its hard not to root for them, and when Hugh tells Anna that he’ll never leave her, we want to believe him.
While the two lovebirds are enjoying a coastal holiday together in a quiet cottage far away from family and friends, Hugh suddenly collapses and dies due to complications from a heart condition. Naturally Anna is devastated by Hugh’s unexpected death and the local doctor sedates her. When Anna finally awakens she is desperate and confused. She longs for Hugh’s return and wanders the beach where she and Hugh spent their last happy moments together.
In the evening Anna begins to see ghostly shadows outside her window and when there’s a knock on her cottage door she opens it to find Hugh standing there apparently alive and well. Anna is overjoyed by the sudden turn of events and she eagerly accepts Hugh’s recovery without asking any questions, but her lover isn’t exactly acting like himself. Hugh doesn’t utter a word and appears to be in a state of shock. Instead of taking him to the hospital, Anna decides to return home with Hugh and urges him to “act normal.” She tries to get him to talk to her, but Hugh is only able to utter a slight moan and he continually stares at her with unblinking eyes. Just when Anna is ready to give up any hope of ever communicating with Hugh again, she hears a voice in her head saying “I love you” coming from Hugh. Her ability to communicate with Hugh telepathically seems to give Anna hope, and she decides to tell Hugh’s brother about the situation she and Hugh have found themselves in.
Hugh’s brother George (Frank Finlay) is a bit superstitious and he immediately suspects something is wrong. He believes that Hugh has become a possessed member of the walking dead. George reminds Anna that Hugh doesn’t look well and is clearly decomposing right before their eyes, but Anna doesn’t want to hear it. She is happy just to have Hugh near her even if he has become a silent unblinking zombie, who has apparently been reanimated due to Anna’s inability to accept his sudden death and the powerful undying love they share together. There is also some suggestion that Hugh’s Scottish ancestry, which can be traced back to the middle ages, might have something to do with his current state, but that aspect of the plot is never fully fleshed out.
As Hugh’s looks begin to rapidly decay, his behavior becomes more unpredictable. In turn, Anna’s fragile grip on reality begins to dissipate and the strange existence they share together starts to unravel. The word “zombie” is never uttered in Neither the Sea Nor the Sand, but anyone who sees Hugh’s lifeless stare, sluggish walk and slowly decaying flesh will immediately be reminded of zombies found in countless other horror films. Unfortunately for horror fans, the necromantic aspects of Neither the Sea Nor the Sand are downplayed and the film has more in common with romance novels and classic gothic literature than typical horror films or zombie movies made during the same period.
As I mentioned above, Neither the Sea Nor the Sand is not a great film and it has plenty of flaws. The most apparent ones are the uneven soundtrack, occasionally silly dialogue and the rather absurdly shot ending that will undoubtedly leave a few viewers laughing out loud. But even with its flaws, I still found a lot to like about the movie. One of the best things about this unusual film is Susan Hampshire’s terrific and engaging performance as the love-struck Anna. Susan Hampshire is an award-winning British actress who really gives everything she’s got to her role and I thought she kept the film interesting even during its dullest moments.
Neither the Sea Nor the Sand was directed by Fred Burnley and it was his only feature-length film. Unfortunately it was also his last. The director shows that he’s got some skills here so it’s a shame that he didn’t go on to make other movies. I had a hard time finding any information about him except his rather thin profile on IMDb. Hopefully the bad reviews he received for Neither the Sea Nor the Sand didn’t discourage him from making more movies.
Neither the Sea or the Sand is currently available on DVD from Amazon and it should also be available for rent from online sources such as Netfilix and Greencine.
AMC is offering free online screenings of two entertaining American thrillers from the sixties as part of their annual Monster Fest which runs from Oct. 22 - Oct. 31. You can currently watch Francis Ford Coppola’s Dementia 13 (1963) and Jack Hill’s Spider Baby (1968) just by visiting the links posted below.
If you haven’t had the opportunity to see these films before I highly recommend giving them both a look. Dementia 13 is one of my favorite Coppola films, even though the plot is rather predictable and Spider Baby is one of Jack Hill’s most interesting and unusual movies.
By 1973 Elizabeth Taylor and Richard Burton’s nine year marriage was coming to an end and both actors wanted to focus on their individual careers. Night Watch (1973) features one of Taylor’s few solo performances as an actress while she was married to Burton and it’s one of my favorite Elizabeth Taylor films from the 70s’ for multiple reasons. First and foremost, it’s a thriller and I love a good creepy thriller with an unexpected twist ending. The film also stars the gorgeous Laurence Harvey who had previously appeared with Taylor in the Oscar winning melodrama Butterfield 8 (1960) and I enjoy watching Taylor and Harvey together. Not only do they both provide some incredible eye-candy on screen, but I also think they have an interesting chemistry when they’re teamed-up. Taylor also delivers one of her most unusual and unexpected performances in Night Watch that clearly mocks some of her previous roles while playing smartly with audience expectations. And lastly, Night Watch evokes many of my favorite Alfred Hitchcock films.
at the moment and I’d really like to see Brian G. Hutton’s film get restored and released on DVD since it should definitely hold appeal for Elizabeth Taylor fans and anyone who enjoys unusual Hitchcock inspired thrillers. I’ve heard rumors that a PAL Region 2 DVD of Night Watch might be released later this year, but I haven’t been able to confirm it anywhere. If anyone else happens to know anything about the rumored PAL Region 2 DVD release of Night Watch, please let me know!
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Scream… and Die! features the beautiful British actress Andrea Allan as an aspiring model named Valerie who’s dating a rather seedy fellow called Terry (Alex Leppard). One foggy night Valerie finds herself in the English countryside with Terry, who decides to loot an old estate hidden away deep in the woods. The couple soon find more than they bargained for when the home’s owner unexpectedly arrives at the house with a female guest. Valerie and Terry slip inside a closet and from their hiding place they watch a strange sexual encounter unfold between the homeowner and a woman that suddenly turns deadly. After witnessing the brutal murder of the woman, Valerie flees the crime scene and runs out of the house. When she realizes she’s being chased by the killer she stumbles into the woods and finally finds herself in an old junkyard where she hides in an abandoned car until morning comes. Once the sun rises Valerie hitches a ride back into town without Terry. 
The script for Scream… and Die! was written by Derek Ford who often worked with the talented horror director Robert Hartford-Davis in the sixties. Ford was also a director in his own right and he made many British sexploitation films in the seventies before and after working on Scream… and Die! This film is definitely different from Ford’s other work and I’m sure that Larraz must have been involved in the writing as well as the direction of the film. One aspect of Scream… and Die! that I really enjoy is the creepy soundtrack by composer Terry Warr, which adds considerable depth and an eerie mood to the film. Warr had worked with Derek Ford before on some sex comedies, but surprisingly this seems to be the first and last time he ever composed music for a horror film.
When it comes to blaxploitation horror films, the genre doesn’t get much better than Sugar Hill (1974) and I’m happy that I finally got the opportunity to see this low-budget gem a few weeks ago. The plot of Sugar Hill is rather simple and involves a beautiful and tough fashion photographer who goes by the same of Diana ‘Sugar’ Hill (Marki Bey). Sugar wants revenge on a group of ruthless mob members who killed her man in an effort to take over a popular nightclub he owned. Unfortunately for the criminals, Sugar’s man left the nightclub to her in his will and in order to take control of the club the mob is going to have to take Sugar down first, but that won’t be easy.
. It definetly deserves to be seen by a wider audience who enjoy other blaxploitation horror films like Blackula (1972) and Abby (1974).
I’m on vacation at the moment and enjoying the holiday, but I wanted to briefly mention that Curtis Harrington’s terrific 1973 thriller 
was released this week on DVD for the first time and it’s my DVD pick of the week. Harrington is responsible for some of the most interesting and entertaining American horror movies and television productions of the sixties and seventies including Night Tide (which recently made my list of 
at the moment and the print seems damaged and distorted. I, Monster is available 
from Image Entertainment, but the quality isn’t much better. Both films would really benefit from being restored and I’m sure I would enjoy them more if I was able to see them under better circumstances. Hopefully that will happen in the future.
(1972), which was released on DVD from Redemption in January. This odd little movie was originally produced by Tigon, a British studio that was behind some of the most entertaining horror films of the late sixties and early seventies such as 
