FRIGHT. (1971) REVIEW BY SANDRA HARRIS.©

fright

FRIGHT. (1971) A BRITISH LION FILM. WRITTEN BY TUDOR GATES. DIRECTED BY PETER COLLINSON. STARRING SUSAN GEORGE, HONOR BLACKMAN, GEORGE COLE, DENNIS WATERMAN, JOHN GREGSON, TARA COLLINSON AND IAN BANNEN.

REVIEW BY SANDRA HARRIS. ©

This is a terrific horror-thriller movie in the sub-genre of what we would call ‘babysitter horror.’ Remember the original version of WHEN A STRANGER CALLS (Carol Kane), the first twenty minutes of which are pure unadulterated perfect horror? Damn right. ‘Have you checked the children?’

There’s also HOUSE OF THE DEVIL (Jocelin Donahue), in which a young American college student desperate for rent money is lured out into the sticks on the pretext of a babysitting job, but when she gets to the creepy old house in the country, she discovers two things. One, the baby she’s been called out to sit for isn’t a baby at all, but an elderly lady; and two, that the entire family are up to their tits in a devil cult. Lol. Dontcha just hate it when that happens?

And then, of course, there’s the original babysitter horror itself, HALLOWEEN, with Jamie Lee Curtis’s Laurie Strode doing duty as the babysitter and the masked escaped criminal Michael Myers providing the chuckles, I mean, the murders.

FRIGHT stars the delectable Susan STRAW DOGS George as Amanda, the young babysitter and child welfare student who comes to the isolated house of Mr. and Mrs. Lloyd to watch their son Tara, while they go out to the Plover Inn in the village a few miles away and celebrate ‘a sort of anniversary.’

The real star of the film is Susan George’s infinitely expressive, mobile face, with the huge eyes, the lush trembling lips and the slightly gammy but still charming teeth. This woman can really show fear in her face. Her long blonde hair and perfect, petite little body all go to complete the package.

The camera loves her, and her face can be shot endlessly in close-ups and you’d never get tired of it. Also, she’s rather smashing at portraying women who are being pushed around and abused by men. You can see this here, and also in STRAW DOGS which she made later in the year for Sam Peckinpah.

Anyway, as Amanda, she shows up at the Lloyds’ house in her fab little woolly pinky-purple mini-dress with the kinky black knee-boots, all set to babysit their little blond cherub of a son, Tara. By the way, in Ireland, Tara is a girl’s name. Just sayin.’

The Lloyds are played by George Cole (MINDER, THE VAMPIRE LOVERS) as Jim and the super-posh and classy Honor Blackman (GOLDFINGER, THE AVENGERS, TO THE DEVIL A DAUGHTER) as Helen. They are an uneasy pair.

Helen is obviously on edge, and doesn’t really want to leave the house, or her baby son, at all, but she’s going to go out to dinner for her husband’s sake and for the sake of living life as normal. Even though they clearly have a secret, one that might possibly place Amanda and the baby in danger if things pan out the way Helen clearly fears they’re going to.

The Lloyd house is big and old and creaky. Amanda gets a few scares initially that turn out to be no more than taps dripping or washing-lines tapping off the branches of trees. But when she sees a distorted man’s face through a ground floor window-pane, she can’t pass this off as a mere commonplace event.

She gets really scared and is glad when her male friend Chris (Dennis Waterman; MINDER, THE SCARS OF DRACULA) pops round to try and get in her knickers. She resists him at first, then gives in part of the way, then throws him out on his ear. Women, eh? Talk about moody and inconsistent. Men are like children. They need consistency in a woman. No means no and all that. Chris leaves, angry, confused and in a danger he’s unaware of…

In the meantime, there’s someone in the Lloyd house who shouldn’t be there and poor little Amanda, in her skimpy mini-dress that opens at the front to show her brassière and her perfect little boobies, is about to be subjected to a nightmare that will only be topped when Susan George films STRAW DOGS later in the year for Sam Peckinpah, the Daddy of Movie Violence. Will Amanda make it out alive? Will Tara? And what is the secret that’s eating Helen Lloyd up from the inside out…?

I love the shots of Helen and Jim boogey-ing on the dance floor in the Plover Inn, and also the fact that Amanda is watching Hammer’s PLAGUE OF THE ZOMBIES on the Lloyds’ ancient telly. FRIGHT could so easily pass for a Hammer film itself. 

I also love the confident, ginger-moustached cop who’s clearly in charge of the station’s one gun, and the way the desk sergeant won’t tell the Inspector a single solitary dicky-bird until he’s painstakingly made out a handwritten report.

‘Oh, you’ve been shot in the ‘ead there, ‘ave you, sir? Well, just hang on out here, sir, will you, while I go and fetch a pen and paper and write all this down for the Inspector, sir. Now where did I put that darned pen? It were ‘ere a minute or two ago. ‘Ere, you, Davies, ‘ave you had me pen? Blue it is, with a chewed cap where I chewed it myself. Oh, you’ve given up and died, ‘ave you, sir? Right on the floor down there? Fair enough, sir, I can’t say I blame you, but just hang on a minute, will you, while I make a note of it for the Inspector? Oh yes, that’s right, I’ve lost me pen, ‘aven’t I…?’

Cracking stuff. Watch FRIGHT. It’s a good atmospheric watch with loads of shocks and scares along the way. Out now from STUDIOCANAL, it features interviews with Susan George (she’s still alive and looking very well) and good-humoured cinema critic and snappy dresser Kim Newman. I saw him give a talk once, but unfortunately didn’t get close enough to him afterwards to ask for an autograph. You snooze, you lose.

But please don’t snooze while you’re on your own in a strange house, with their telly and your refrigerator privileges. That could be the very chance a boogeyman needs to gain access. And, once he’s in, he can be very hard to get rid of…

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

https://twitter.com/SandraAuthor

AND SOON THE DARKNESS. (1970) REVIEW BY SANDRA HARRIS. ©

and soon the darkness

AND SOON THE DARKNESS. (1970) SCREENPLAY BY BRIAN CLEMENS. DIRECTED BY ROBERT FUEST. STARRING PAMELA FRANKLIN, MICHELE DOTRICE, JOHN NETTLETON AND SANDOR ELES.

REVIEW BY SANDRA HARRIS. ©

This is exactly the kind of super-atmospheric 1970s British chiller I adore. It reminds me very much of ASSAULT (1971), aka IN THE DEVIL’S GARDEN, starring James Laurenson and featuring Lesley-Anne Down in her debut role. In it, a serial killer-slash-rapist terrorises the students of a girls’ college situated near a creepy forest.

In AND SOON THE DARKNESS, two pretty little English nurses from Nottingham taking a cycling holiday in northern France are terrorised in a similar fashion by an unknown assailant, and the film becomes a bit of a who-dunnit in that we have at least four plump, juicy, positively succulent suspects to choose from.

The two girls are Jane, played by Pamela Franklin (from THE INNOCENTS (1961) with Deborah Kerr), who actually looks as French as French can be with her chic bobbed brown hair and the little blue scarf knotted jauntily about her neck, and Cathy Mercer.

Cathy, a luscious blonde with long hair and a delectable figure, is portrayed superbly by none other than Michele Dotrice. Michele went on to experience television immortality for playing Betty Spencer, the long-suffering wife of the accident-prone Frank Spencer (Michael Crawford) in the hugely successful sitcom, SOME MOTHERS DO ‘AVE ‘EM.

Jane and Cathy are, as I said, cycling through northern France on their holidays. Jane seems to be enjoying the fresh air and the scenery, but Cathy is bored to death with the empty roads, the wide-open spaces and the lack of hot night-spots. Or night hot-spots, if you prefer.

They are being followed at a distance by a strikingly attractive dark-haired French male on a moped, and having a good time with this stranger, to whom she’s never addressed so much as a word, would be much more the flirtatious Cathy’s idea of fun than endlessly cycling along these deserted French roads till her butt grows numb.

The two girls argue about this very subject. Cathy decides to mutiny and she downs tools- ie, her bicycle- and proceeds to lie down to sunbathe in a little clearing by some woods at the side of the road. You might as well bugger off, she tells Jane, if you’re so eager to keep cycling all bloody day. Me, I’m stoppin’ ‘ere! Ooooooh Betty…! You never made a worse decision.

Jane gets the hump and cycles off, stopping for a drink outside a really crappy café down the road a bit. After a while, she grows uneasy and decides to go back for her friend. But Cathy is gone. So is her bicycle, her backpack and the knickers she draped over the bushes so that they could dry in the sunlight. Jane doesn’t know what to think.

Thanks to a British woman who lives in the area and works as a teacher, she knows that a young tourist girl was murdered hereabouts only two or three years ago. More than just murdered, the British woman tells her with a snooty, disapproving face that can only mean that the girl was raped as well. It was a sex murder. But it was the girl’s own fault, of course, the woman is quick to point out, for being ‘alone on the road…’ Well, Jane is ‘alone on the road’ now. And so was her missing friend, Cathy…

Jane is starting to dread that something awful, something unthinkable, has happened to Cathy. The feeling of dread, for me, begins building up in this film right from the start, when you first see the two girls, cycling two abreast (cycling to a breast, tee-hee-hee) on a foreign country road.

Nothing but miles of open road and open sky. There is as much capacity for horror in wide-open spaces as there is in cramped basements and dusty attics, and this film portrays that really, really well. I mean, when there’s nobody around for miles and miles it can be nice and peaceful, sure, but it also means that there’s no-one around to come to your assistance if you get into trouble. The suspense and tension here just keep on being ratcheted up, until our jangling nerves are in shreds and we want to screech, tell us who it is already!

It’s one of those films that portrays not only sexy, half-dressed young women (come on, just LOOK at those short shorts!) in peril but also the holiday-maker in distress. Jane is careering around madly, looking for someone to help her find her friend, and she keeps coming up against both the language barrier (her French is barely functional) and also the difficulties inherent in trying to impress upon bored policemen who don’t speak your language that there really is a missing girl. Pamela Franklin’s face, like that of Michele Dotrice, is just so incredibly expressive. I’d give ’em both Oscars just for their brilliant facial expressions alone.

Hungarian actor Sandor Eles as the smoulderingly sexy Paul Salmont is just fantastic. Is he evil or does he really just want to help out Jane, a damsel in some very obvious distress? Frankly, I wouldn’t care how evil he was, he’s so devastatingly good-looking, and so super-cool too in his sunglasses and with his little moped tightly clamped between his brown-trousered thighs, lol. Hold me, he commands Jane. Phwoar! He wouldn’t have to ask me twice.

Locations of note? The little clearing by the woods at the side of the road where Cathy decides to have her nice lie-down, and the derelict caravan park. It’s not exactly Tom and Pippa’s homely, wholesome family-run caravan park from Antipodean soap opera HOME AND AWAY, is it? What horrors will we find there? God alone knows.

The scene at the edge of the woods reminds me of the five minutes at the beginning of another superb old British horror film called THE APPOINTMENT (1981). A schoolgirl called Sandie is making her way home from school by way of… you guessed it… a short-cut through the woods. It’s the last thing she ever does. It’s terrifically spooky.

Woods can be perilous, as well we know. As can going abroad on holiday to a place where you don’t speak the language, and the three inhabitants of the one village you pass all seem so inbred as to make the guys in that fine example of French extremity cinema, THE ORDEAL, look like models of deportment and sanity. The moral of the story? Forget your foreign holidays and bloody well stop at home. End of.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

https://twitter.com/SandraAuthor

 

NOTHING BUT THE NIGHT. (1973) REVIEW BY SANDRA HARRIS. ©

nothing night lads

NOTHING BUT THE NIGHT. (1973) DIRECTED BY PETER SASDY. PRODUCED BY ANTHONY NELSON KEYS. SCREENPLAY BY BRIAN HAYLES. STARRING CHRISTOPHER LEE, PETER CUSHING, DIANA DORS, GEORGIA BROWN, GWYNETH STRONG AND KEITH BARRON.

REVIEW BY SANDRA HARRIS. ©

This is an odd little curiosity of a film which I was thrilled to discover recently on DVD. It stars two of Britain’s most iconic horror stars, Christopher Lee and Peter Cushing, as well as the ravishing Diana Dors, one of that country’s most beautiful actresses ever.

I would have given the film a different title, as I’m not sure exactly what ‘Nothing But The Night’ refers to and it sounds a bit wishy-washy. Maybe it’s part of a quotation or something. Even something like ‘Island Of Terror’ or ‘Island Of Horror’ might have been a slight improvement. Weak as both suggested alternatives undoubtedly are, at least you’d know from the off what kind of film you were dealing with.

It starts off with a group of annoying schoolchildren on a bus. Was it their screechy rendition of ‘Ten Green Bottles Standing On A Wall’ that caused the bus driver to crash the bus and kill himself? Whatever it was, the bus driver is dead and the lead child, a girl called Mary, is hospitalised.

A doctor called Peter Haynes decides that she’s suffering from repressed trauma because she has repeated nightmares about fire. He enlists Peter Cushing, as his supervisor and the head pathologist of the hospital Dr. Mark Ashley, to help him get to the bottom of it. What can a pathologist do to help? Well, if Mary dies in a fire, I suppose he can perform the autopsy, lol.

Christopher Lee as a retired copper called Colonel Bingham then asks his friend Mark Ashley- yes, our pathologist- for help as well, because a good chum of his has died and Colonel Bingham suspects foul play. The chum who died was a Trustee of the Van Traylen Foundation, a foundation which runs an orphanage in Scotland, and three Trustees in all are dead by now in mysterious circumstances. That’s well suspicious, obviously.

By an incredible coincidence, Mary Valley, the fire girl (played by Gwyneth Strong, aka Rodney’s bird from ONLY FOOLS AND HORSES), is one of the Trustees’ orphans. Also, there were three more Trustees aboard the bus that crashed. Curiouser and curiouser, as they say.

Dr. Haynes is convinced that there’s more to Mary’s case than meets the eye. He gets involved with a sexy, supercilious reporter lady called Joan Foster, who thinks she knows it all and who is trying to re-unite Mary with her birth mother Anna Harb, and therein hangs an interesting tale. Could there be a story in it for Joan?

Played by Diana Dors in a messy red wig, Anna Harb is portrayed as a crude, common-as-muck ex-prostitute who spent ten years in Broadmoor and had Mary taken away from her for working as a prostitute while the child was in her care. That seems unfair, as clearly Anna Harb was only doing it so that she and Mary could eat, but whatever. The state (in most countries) has always been unfair to women.

Now Anna wants her child back but the Trustees are determined that this won’t happen. They whisk Mary from the hospital off to the island on which their orphanage is situated, leaving poor distraught Anna Harb with no choice but to follow her daughter to the island in secret.

Sir Mark and Colonel Bingham head to the island also, to investigate the deaths (suicides or murders?) of the three former Trustees. They are accompanied by Inspector Cameron, well played by Fulton Mackay (one of the stars of the sitcom PORRIDGE) with his brilliant Scottish accent.

What they discover on this isolated island would put you in mind of poor old Sergeant Neil Howie coming to Summerisle to investigate what he thinks is the case of a missing child in the 1973 mystery film THE WICKER MAN. What he discovers there is the stuff of nightmares, and Christopher Lee as the arrogant and aristocratic Lord Summerisle is the puppet-master expertly pulling the strings behind the nightmare.

Now the boot is on the other foot for Christopher Lee. Here, as the terribly English and upper-crust ex-copper Colonel Bingham, he experiences first-hand the terrors that the island holds for strangers and outsiders such as himself, while his chum Sir Mark unravels scientifically the exact truth behind what has been happening here on the mysterious island.

There’s at least one very gruesome death in the film, as well as a rather spectacular end scene involving Christopher Lee which, without giving anything away, made me want to yell at the screen: ‘Come on Chris, you’re Dracula, you’re Saruman, kick their asses! Knock ’em down! Flatten the little bastards! Are you gonna let them tread all over you like that?’ It felt rather demeaning to see him lying in the mud like that, but he was clearly overpowered, lol.

He looks so handsome too in his lovely hound’s-tooth jacket and beige overcoat (probably both his own), with that furry caterpillar of a moustache clamped to his upper lip for dear life. I prefer him without the moustache but it does make him look even more distinguished than usual. He’s more than manly enough to carry it off.

Peter Cushing looks and sounds immaculate here, as always, and the two leading men are so natural and easy with each other that it’s not at all hard to picture them being friends with each other in real life, two good mates who worked together and genuinely liked and respected each other. God bless ’em both. They were magnificent. Hope they’re resting in peace together now, the pair of ’em.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor

CRUCIBLE OF HORROR. (1971) REVIEW BY SANDRA HARRIS. ©

Crucilbe-Horror-1000-06

CRUCIBLE OF HORROR. (1971) DIRECTED BY VIKTORS RITELIS. STARRING MICHAEL GOUGH, SIMON GOUGH, JANE GURNEY AND YVONNE MITCHELL.

REVIEW BY SANDRA HARRIS. ©

This psychological horror-thriller, also known as THE CORPSE and THE VELVET HOUSE, is a really dark film, and the darkest starring role Hammer actor Michael Gough (DRACULA, THE PHANTOM OF THE OPERA) probably ever had. He plays Walter Eastwood, a wealthy middle-aged financier who’s the very model of a prim and proper English businessman of the period.

He discusses stocks and shares and reads the financial news over breakfast with his son Rupert, who works alongside him in the family insurance firm. He likes listening to classical music and going hunting with his posh friends. He loves his guns. ‘Who touched my guns?’ His accent is pure cut-glass British toff and his behaviour, I am sure, is circumspect in every particular but one.

To his terrorised wife Edith, an artist, and his beautiful teenage daughter Jane, he is a monster. He controls their every move and watches them like a hawk, even going so far as to read their mail right in front of them. He controls the purse-strings too and gives Jane no pocket money whatsoever, which assures that her friends tire of her quickly as she never has any money of her own to pay her way.

Worse than this, however, he abuses Edith and Jane physically in the most savage of ways, whipping them with his riding crop when they fail to measure up to his exacting standards, which seems to be often.

Early on in the film, he whips Jane brutally for stealing the kitty from his precious golf-club, which she probably only pinched in the first place because he never gives her any money of her own to hang out with her friends, of whom he naturally disapproves anyway. What’s she meant to do?

Jane is a real looker and Walter’s whipping of her in her bedroom definitely seems to have a strong sexualised element to it. Even if he hasn’t raped her or misused her sexually before, he certainly seems obsessed with her and gets enjoyment from chastising her physically.

It will transpire later in the film that Edith, who seems so brutalised from her husband’s ill-treatment that she has become languid, vague and spaced-out (she will almost certainly be taking prescription sleeping pills and/or tranquilisers), has given the works of the Marquis de Sade to Jane to read. In order, presumably, to make Jane understand why her father behaves towards her the way he does.

Both women seem to have him pegged pretty much correctly as a sexual sadist. If I were Jane, I’d keep my bedroom door permanently locked, although it doesn’t seem like Walter Eastwood is the kind of man to permit his women-folk to lock him out in his own house. He thinks nothing of barging in when Jane is only half-dressed, either, although maybe that’s exactly the state of deshabillé he’s hoping to find her in.

No support whatsoever is forthcoming from Rupert, Edith’s son and Jane’s big brother. He seems to enjoy witnessing his father’s savage sarcasm and controlling behaviour towards Edith and Jane, and one wonders whether he will take his father’s place as the dominant male figure in the family when his father grows too old- or too dead- to do it.

The morning after the golf club money whipping, when poor Jane is barely able to walk from the severity of the injuries inflicted upon her, Mum whispers to her daughter once the men have taken leave of the breakfast table: ‘Let’s kill him.’ It’s the only way they can both be free of Walter and his psychological, financial and physical cruelty…

This bit reminds me of when Mandy and Beth Jordache in Scouser soap opera BROOKSIDE murdered Trevor Jordache in the soap in the early 1990s. Trevor, Mandy’s husband and Beth’s father, had inflicted years of brutal physical and mental abuse- and also the sexual abuse of his daughter Beth- on his little family and they were quite simply driven to the edge of despair by it.

It’s a long time ago now since this happened and even BROOKSIDE itself is now sadly defunct, but I think that Mandy and Beth decided to kill Trevor when he started sexually abusing Rachel, Beth’s younger sister. It was a bridge too far for the two women.

Either way, THE BODY UNDER THE PATIO was one of the most exciting and dramatic storylines ever attempted by a British soap opera and the part of Trevor Jordan was brilliantly played by Irish actor Bryan Murray.

I met Bryan Murray on the LUAS (our Dublin trains!) a few months ago and we had a nice chat about BROOKSIDE and he signed an autograph for me in the book I was reading at the time, which was THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY, the 2008 book by Mary Ann Shaffer and Annie Barrows. Which was nice, as yer man says on THE FAST SHOW…!

Anyway, things get a bit messy and confusing in CRUCIBLE OF HORROR once the decision has been taken by Edith and Jane to put an end once and for all to their terrible sufferings by offing Walter Eastwood, the fountainhead of all their misery. I do love the ending, though, it’s so deliciously black and grim and hopeless!

Rupert Eastwood is played by Michael Gough’s real-life son Simon. What must have been even odder for them both is that Jane is played by Simon Gough’s real-life wife Sharon Gurney. Michael Gough as Walter Eastwood had to pretend to lust after and get turned on by whipping his very own daughter-in-law, in other words…!

There’s a very funny flashback scene which I’m quite certain was added gratuitously by the film-makers, in which a naked, dripping wet Jane is hauled out of a lake and slapped around the place by Walter for skinny-dipping. It’s not funny that Walter’s being violent, but they didn’t have to include a nudie skinny-dipping scene, it’s purely for sexy kicks, lol.

The film is based on an old French movie called LES DIABOLIQUES which, if I describe the plot of same to you guys now, would be a spoiler as to how CRUCIBLE OF HORROR pans out. I haven’t seen LES DIABOLIQUES myself yet but I intend to dig it out. It’s a French psychological thriller from 1955 directed by Henri-Georges Clouzot starring Simone Signoret, by the way.

There’s a feeling of dread throughout CRUCIBLE OF HORROR because of the dreadful quality of life handed down to Edith and Jane by the tyrannical Walter, whom I must say is the worst, most evil movie-father I’ve ever encountered. And that makes him the best in my book, lol.

I would have given the film a different title as I’m not sure to what the titular ‘crucible’ refers (unless it’s the bowl that Jane… No, wait, I’ve said too much!), but that’s only nit-picking. I loved this film. Try and see it if you can at all.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor

ASSAULT, also known as IN THE DEVIL’S GARDEN. (1971) REVIEW BY SANDRA HARRIS.

assault tessa screaming

ASSAULT. (1971) BASED ON THE NOVEL ‘THE RAVINE’ BY KENDAL YOUNG. DIRECTED BY SIDNEY HAYERS. STARRING SUZY KENDALL, LESLEY-ANNE DOWN, JAMES LAURENSON, FRANK FINLAY, TONY BECKLEY, DILYS HAMLETT, ALLAN CUTHBERTSON, DAVID ESSEX AND FREDDIE JONES.

REVIEW BY SANDRA HARRIS. ©

This is an excellent British horror-slash-murder mystery from my absolute favourite British horror period, the early ‘Seventies. The stuff they made back then just can’t be surpassed: THE WICKER MAN, THE APPOINTMENT, CRUCIBLE OF TERROR, THE VAMPIRE LOVERS, LUST FOR A VAMPIRE and so many, many more.

In fact, the first six minutes of ASSAULT (the title is the only thing about this that I’d change, it made me word-associate it with rifles, for some reason…!) reminded me of the first five minutes of THE APPOINTMENT, a proper British chiller starring Edward Woodward from THE EQUALISER and THE WICKER MAN.

When the schoolgirl called Sandie is walking home alone from school through the lonely, forbidden path in the forest in THE APPOINTMENT and strange eerie voices are calling to her by name from inside the forest, it gives me chills every time, even though I already know what’s coming.

Speaking of the title, ASSAULT, by the way, the movie does have another title, IN THE DEVIL’S GARDEN, which might have been a little more atmospheric. It’s such a wonderfully atmospheric movie, very of the time in which it was made, and something of a sex pervert’s dream as well, featuring as it does all these sexy, sexually mature seventeen-and-eighteen-year-old schoolgirls in the tiny little pink skirts no longer than gym-slips and pristine white knee-socks they wear to school.

Is it any wonder, then, that an actual sex pervert is loose in the movie, choosing for his victims the girls from Mrs. Sanford’s School For Girls who unwisely walk home alone from school through the adjoining forest…?

The action all seems to take place in a lonely part of the forest called the Common or Devil’s End. He rapes them initially, this dreadful sex pervert, before graduating to rape coupled with strangulation leading to death. It’s a shocking state of affairs.

Lesley-Anne Down in one of her earliest roles plays Tessa Hurst, the first girl from Mrs. Sanford’s to be pursued through the woods and then brutally raped. Lesley-Anne Down (UPSTAIRS DOWNSTAIRS, COUNTESS DRACULA, ARCH OF TRIUMPH with Anthony Hopkins, blockbuster mini-series NORTH AND SOUTH) is one of the most beautiful women ever to grace a cinema screen. Her expressive eyes, her rose-red luscious lips, her lustrous long dark hair all add up to a most pleasing picture indeed.

Her character of Tessa Hurst goes into a state of catatonic shock after the terrible attack. Even I know that, and I’m not a doctor. No amount of throwing a ball at her mid-section and expecting her to catch it will help her to snap out of her coma-like state, are you hearing this, attractive psychiatrist Dr. Greg Lomax…? Heh-heh-heh.

Within six or seven minutes of the first attack, another schoolgirl has been raped and, this time, she’s been choked to death as well. This time round, though, there’s a witness to the murder, the art teacher Julie West as played by Suzy Kendall. She’s an extremely attractive young lady, with her long glorious hippy hair, purple-tinted spectacles, knee-boots and mini-skirts. Very jazzy and of the time.

When she describes the assailant to the Judge at the inquiry as looking just like ‘the Devil,’ the Judge laughs at her and dismisses her as an over-imaginative female. The Judge is played by the same chap (Allan Cuthbertson) who attends Basil Fawlty’s first- and last- ever Gourmet Night at Fawlty Towers when the only item on the menu is, well, duck. And what do you do if you don’t like duck? Well, if you don’t like duck, I’m afraid you’re rather stuck…!

Any one of the men in the film could be the sex killer, which is what keeps the plot ticking over nicely all the way to the end. Every male character is a possible suspect.

There’s John Velyan (Frank Finlay), the copper investigating the dastardly crimes, but you never really get the feeling that he’s anything other than a straight-up copper who’s just dying to put this kinky murdering bastard behind bars where he belongs.

Then there’s the aforementioned attractive investigating psychiatrist Dr. Greg Lomax, who’s played by the devastatingly handsome James Laurenson. He’s sweet on Miss West, the beautiful art teacher, but what’s in all those pills he keeps giving her, that she obediently swallows without even questioning what’s in them? She must indeed be mesmerised by his delicious, chocolatey-brown come-to-bed peepers, because I know I certainly was, tee-hee-hee.

The most obvious suspect is probably the most odious, one Leslie Sanford who’s the husband of Mrs. Sanford who runs the Girls’ School, the school from which all the victims are chosen. Mrs. Sanford, who’s a good deal older and more staid than her husband, is utterly distraught about what’s happening to the good name of her school.

Her husband Leslie, on the other hand, is enjoying seeing his wife’s good name being dragged through the mud. His older wife’s money is what keeps him in the lap of relative luxury and boy, doesn’t he hate her for it! He feels emasculated, so he blames his wife. He even rewards her fidelity and generosity by lecherously groping the schoolgirls under her care.

Leslie Sanford loses no opportunity to slag his mortified wife off to John Velyan, the investigating police officer, but Velyan won’t play ball with the odious little man. He sees right through the nasty piece of work, who even confesses to the rapes but Velyan won’t arrest him. Why not? Let’s just say that Velyan’s got this nasty little scrap of humanity sussed…

There’s also Mr. Bartell, the principal of the local hospital, and Mr. Denning the obnoxious journalist, who absolutely should not get away with terrorising and shadowing Miss West the way he does. Just because he’s a newspaper man in search of a story doesn’t give him the right to behave the way he does.

That just leaves Milton, the police officer assigned to be Miss West’s bodyguard, to round up the list of possible suspects. There’s even a rather sinister-looking electricity pylon in the woods that looks like it might be culpable of some wrong-doing at some point.

Grip, the Sanfords’ dog, is a male all right but he definitely isn’t a suspect. Popular singer David Essex as the chap who comes into the pharmacy with his girlfriend isn’t a suspect, exactly, but he’ll certainly think twice before he whips out his lighter in public again…!

ASSAULT is one of the finest films of its time. I’m only surprised it’s not better-known. It’s got a fantastic cast and a great plot which sees a crazed sex killer running amok amongst the lovely nubile pupils of a local girls’ school. What’s not to love…?

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

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https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

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