ROSEMARY’S BABY. (1968) REVIEW BY SANDRA HARRIS.


ROSEMARY’S BABY. (1968) BASED ON THE NOVEL BY IRA LEVIN.
DIRECTED BY ROMAN POLANSKI.
STARRING MIA FARROW, JOHN CASSEVETES, RUTH GORDON, SIDNEY BLACKMER, MAURICE EVANS, RALPH BELLAMY AND CHARLES GRODIN.
REVIEW BY SANDRA HARRIS. ©
 
This brilliant and iconic horror film reaches out and grabs you by the throat from the get-go. The first thing I noticed about it is the following. The music in THE SIMPSONS when Homer exercises poor judgement and takes the kids to a horror flick that’s totally unsuitable for young ‘uns is actually a clever homage to the ‘la-la-la-la’ music at the start of ROSEMARY’S BABY. I love finding out stuff like that!

When a terrified Bart and Lisa, traumatised beyond belief from being made to watch THE RE-DEADENING, hear the ‘la-la-la-la’ music at the dinner table and howl in fear, Homer casually remarks: ‘Oh yeah, I bought the soundtrack…!’ Good old Homer. Marge, on hearing where Homer’s taken the kids, actually remarks: ‘Homer, that’s a rare lapse in judgement for you!’ or words to that effect. Yes, rare indeed…

Anyway, ROSEMARY’S BABY tells the story of a young couple, Guy and Rosemary Woodhouse, who in 1965 move into one of those gorgeous, huge old New York apartment buildings that are always being featured in films.

SINGLE WHITE FEMALE has one of ’em. You know the kind I mean. They’ve got lifts and doormen and laundry rooms down in the big scary basement and tons and tons of storage space and I’ve always wanted to live in one except I think I’d be too scared.

The building’s not entirely dissimilar to the infamous Cecil Hotel in downtown Los Angeles, which recently featured in a Netflix series entitled: CRIME SCENE: THE VANISHING AT THE CECIL HOTEL. The specific ‘vanishing’ to which it refers is that of Canadian student Elisa Lam (1991-2013), who booked into the Cecil Hotel, only a stone’s throw from Skid Row, in January 2013.

Sadly, she went missing while staying there and her body was eventually found in a water tank on the roof of the building. Her death was found to be accidental. Huge Internet interest was aroused by the disappearance and, particularly, by some hotel footage of Elisa in a hotel elevator on the last day she was ever seen alive, in which she is seen to be behaving strangely.

Anyway, Guy and Rosemary’s building is called the Bramford and, according to their pal Hutch, its history is sinister and inextricably bound up with the occult. This doesn’t deter the young marrieds, though.

Rosemary in particular loves all the closet space and, let’s face it, as a dutiful little ‘Sixties housewife, she has plenty of time to line them all with nice stripy shelf paper while hubby Guy is out trying to earn a crust as an actor.

The most interesting thing about the Bramford is the Woodhouse’s new neighbours, a hugely eccentric old couple called the Castevets. Ruth Gordon won an Oscar for her portrayal of Minnie Castevet, the garishly-dressed, extremely nosy and pushy auld one who insinuates herself into Rosemary’s business right from the off. Rosemary, a total doormat, is much too weak and wimpy to tell the bossy old biddy to bog off.

After initial reluctance, Guy becomes chummy with the couple and presumably talks to them in private about how hard he’s finding it to make it as an actor. Then one day, he suddenly tells Rosemary he’s willing to try for the baby she’s always wanted.

Coincidence much? He’s even worked out on a chart when the optimum times for conception are, if you can believe that. Is any man alive that keen to knock up the missus…? Well, maybe some guys are, haha.

Dozey Rosie doesn’t suspect a thing. Not even when one night she gets ‘tipsy’ (with Guy’s encouragement) and has a horribly life-like ‘dream’ in which she is raped by a demonic figure in the presence of Guy and the Castevets and a load of their elderly pals from the Bramford. ‘Dream,’ my Aunt Fanny. As if the whole thing wasn’t arranged by Guy and the Castevets together. For shame…!

Rosemary wakes up the next day covered in claw marks and scrapes and scratches. Guy tries to make out like he had sex with her while she was out for the count so as not to miss out on conception time. He says it was nice, in a necrophiliac kind of way…! What a nice guy. We have a name for that kind of thing nowadays, boyo.

Anyway, as you’ve undoubtedly guessed, Rosemary ends up preggers by Satan after that one night, because apparently His Infernal Majesty always hits the mark on the first time. No faffing about for the Dark Lord. No bullshitting with Beelzebub. No half-assed endeavours for Lucifer. He uses his whole ass when he undertakes something. Oh, and Guy is suddenly on his way to becoming a famous actor. Coincidence, my butt. 

What happens to Rosemary after her unwitting conception of Old Nick’s kid has the quality of a nightmare for the boyishly-coiffed young mum-to-be. Does she get through it unscathed? Does Satan Junior? Does Guy get any kind of come-uppance?

Can the Devil be prevailed upon to pay child support and take his infant to MacDonald’s and a movie at the weekend like every other normal deadbeat dad? And above all, can anything be done about Rosemary’s hair? ‘Tis shocking bad. These and other questions can (mostly) be answered by watching the film.

The book by Ira Levin on which the film is based is one of the few books that I read right through without stopping. JAWS by Peter Benchley was another one, William Peter Blatty’s THE EXORCIST another. It’s in pretty good company, as you can see.

ROSEMARY’S BABY, incidentally, is one of the films that made it on to the American National Film Registry, which means that the Library Of Congress deemed it ‘culturally, historically or aesthetically significant,’ which is a pretty big honour for any film that makes the cut.

The acting is sublime, the scripting tight and the ending fantastic. The only thing that puzzles me is the bit about Satan’s apparently being such a rough and inconsiderate lover that he leaves his consort covered in savage claw marks.

That’s not the Satan I know. Why, the time he and I… Ooops. I’ve said too much. Never mind. Forget that I said that. We’ll end on a pun based on the movie. ‘Anyone for tannis…?’ Yes, I said tannis, haha. Watch the film. You’ll find out.

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 Vampirology. 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

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books:

The sequel, ‘THIRTEEN STOPS LATER,’ is out now from Poolbeg Books:

BLESS THE CHILD. (2000) FILM REVIEW BY SANDRA HARRIS. ©

BLESS THE CHILD. 2000. BASED ON THE 1993 BOOK BY CATHY CASH SPELLMAN. DIRECTED BY CHUCK RUSSELL.

STARRING KIM BASINGER, RUFUS SEWELL, JIMMY SMITS, IAN HOLM, ANGELA BETTIS AND CHRISTINA RICCI.

REVIEW BY SANDRA HARRIS. ©

This is a pretty poor film. I was personally disappointed when I realised that it wasn’t a film about an evil child, like in THE OMEN or THE EXORCIST, but a good child. A super-good child, in fact. A child so good that for centuries the forces of evil have been waiting to get their grubby mitts on her. I would have much preferred an evil child but, even aside from that, it was still a poor film.

Kim Basinger, whom I’ve always felt was just a trifle bland, or blank even, as an actress, plays Maggie O’Connor, a psychiatric nurse at a busy New York hospital. One day out of the blue, Maggie’s younger, not-so-together sister Jenna, whom she hasn’t seen for years, turns up on her doorstep clutching her newborn baby, the niece that Maggie never even knew she had. Jenna disappears again the same day, leaving a shocked Maggie literally holding the baby…

The child, a little girl called Cody, grows up autistic. Her Aunt Maggie dotes on her and gives her the best of everything. She’s not happy, therefore, when six or so years later Jenna turns up unannounced once more.

This time, she has a new husband in tow, the revoltingly smarmy Eric Stark. Eric belongs to a cult called New Dawn. He knows that Cody is a very special child. She has powers that Eric and his chums want to exploit, but not for good. For evil…

The second half of the film basically sees Kim Basinger running around like a headless chicken, trying to get Cody back from the mad culties who’ve kidnapped her so they can use her in their quest for world domination. She enlists the aid of Jimmy Smits’s FBI specialist in occult-related crimes to back her up when the final, inevitable showdown between good and evil occurs.

I don’t like to get personal, but I kind of feel the same way about Jimmy Smits as I do about Kim Basinger. Bland, bland, bland. Is there anything going on behind the bland good looks…? Who knows…?

The ending is disappointing, as are the practically non-existent special effects. A clash between Satan’s minions and God’s army has the potential to be utterly spectacular. Sadly, this is not the case with BLESS THE CHILD. There are contributions by Bilbo Baggins and Wednesday Addams, aka Ian Holm and Christina Ricci, but they’re only worth mentioning in passing.

I really hate being this negative about a horror film but I just felt so let-down by this one. That’s not to say that you shouldn’t watch it, though. You never know, you might see something in it that I don’t. Unlikely, haha, but it’s a free country after all and y’all can do what y’all wants to do…!

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

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books.

BLESS THE CHILD. (1993) BOOK REVIEW BY SANDRA HARRIS. ©

BLESS THE CHILD BY CATHY CASH SPELLMAN. (1993)

BOOK REVIEW BY SANDRA HARRIS. ©

The child everybody wants… even the DEVIL…

This book had the potential to be absolutely phenomenal, given its premise- a battle to the death between Good and Evil- but, like the film from 2000 based on this book, it turned out to be a really damp squib, a major disappointment.

Mrs. Margaret Cavan O’Connor is an American widow who owns an antiques business. God has sent her one of the worst of all human trials, a daughter who is addicted to heroin. The daughter, Jenna, missing for a good while, presumably off doing drug addict stuff, turns up out of the blue one day with a baby, her baby, in tow.

Mind her for me, she begs Maggie, then she legs it again to God-knows-where. Maggie, shell-shocked at first, grows to worship her little grand-daughter, Cody, which is why it’s so hard to give her up when Jenna turns up again, three years later, demanding the child back.

Things have changed a lot for Jenna in three years. She now has a husband, a handsome, charismatic billionaire businessman called Eric Vannier, who pulls all Jenna’s strings and keeps her provided with the drugs she craves, so long as she goes along with his twisted plans for world domination…

When an anonymous phone call reveals Eric’s link to a sinister and deadly Satanic cult called Maa Kheru, Maggie becomes convinced that Cody’s life, not to mention her immortal soul, are in terrible danger from this evil, sadistic cult.

It turns out that Cody is a very special child known as the Messenger, and Maggie is the Messenger’s protector, by virtue of her past life as a handmaiden dedicated to the goddess Isis. Maggie accesses this past life with the help of her witch friend, Ellie, who’s into Tarot card readings and the cosmic alignment of planets and all that jazz.

Anyone who can capture Cody, control her and correctly harness the power she possesses can rule the world. You can imagine, therefore, that such a child will be popular with people like Eric Vannier, for whom world domination has always been his primary goal. It’s time to unearth that old cliché, stop at nothing; as in, Eric and Maa Kheru will stop at nothing to get their hands on that little girl and her magical powers.

Maggie enlists the help of a New York detective, Lieutenant Malachy Devlin, a man with tragedy in his past, and Father Peter Messenguer, a questioning cleric who’s sailing pretty damn close to the wind as far as his superiors are concerned, to get Cody back from the Vanniers and Maa Kheru.

She has endless and, it has to be said, endlessly boring conversations with these two men about religion, spirituality, past lives and their beliefs and hers, in which the author shows off the prodigious amount of research she’s done into things like the history of magic, ancient Egyptian gods and goddesses, the left-hand path versus the right-hand one, astrology and mysticism.

It’s to her credit that she’s done all this painstakingly detailed research, but you can’t read for too long in the book without tripping over one of the many enormous information dumps she’s left scattered throughout the narrative. Quite honestly, I thought I’d never finish reading this particular book, and I normally love reading about all things supernatural.

There is one really cool chapter in which Eric Vannier authorises for Maggie to be the victim of something truly dreadful called a ‘Sending.’ Maggie barricades herself inside a pentagram chalked on the floor of one of the rooms of her house, while Maa Kheru flex their black magic muscles by ‘sending’ her various demons and nightmarish entities to mess with her head and terrify her into submission.

It’s very similar to the scene in the Hammer horror film THE DEVIL RIDES OUT, based on the book by Dennis Wheatley, in which Christopher Lee as Nicholas, Duc de Richleau, and his friends, are forced to defend themselves against a night of black magic attacks sent their way by Mocata, the charismatic leader of the evil cult trying to lure the Duc’s friend’s son, Simon Aron, over to the dark side.

Anyway, there are lots of extremely cool and interesting references to the various aspects of black magic in the book, but the book as a whole could have done with being a lot less long-winded.

Instead, the writer’s gone and heaved the entire bloomin’ kitchen sink at us, which is why it’s genuinely hard to see the wood for the trees here. Less is more, as the fella says, and, in this case, he might just be right…

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

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books.

THE HAUNTED PALACE. (1963) A VINCENT PRICE/ROGER CORMAN FILM REVIEWED BY SANDRA HARRIS. ©

Vincent-Price-Blu-ray-Collection

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THE HAUNTED PALACE. (1963) BASED ON THE POEM BY EDGAR ALLAN POE AND ON THE CASE OF CHARLES DEXTER WARD BY H.P. LOVECRAFT.

DIRECTED AND PRODUCED BY ROGER CORMAN.

STARRING VINCENT PRICE, DEBRA PAGET, LON CHANEY JR., FRANK MAXWELL, LEO GORDON AND CATHIE MERCHANT.

REVIEW BY SANDRA HARRIS. ©

‘And travellers now within that valley,

Through the red-litten windows, see

Vast forms that move fantastically

To a discordant melody;

While, like a rapid ghastly river,

Through the pale door,

A hideous throng rush out forever,

And laugh- but smile no more.’

This is such a lush luxurious film, sort of the cinematic equivalent of a really fancy box of chocolates. The same can be said of all of the films in American International Pictures/Roger Corman’s Poe cycle: THE FALL OF THE HOUSE OF USHER, THE PIT AND THE PENDULUM, TALES OF TERROR, THE PREMATURE BURIAL, THE TOMB OF LIGEIA, THE RAVEN and THE MASQUE OF THE RED DEATH. All of these star Vincent Price in the lead role, except for THE PREMATURE BURIAL, in which Ray Milland is on leading man duty.

This film is book-ended by part of a Poe poem, which allows it to be included in the Poe cycle of films, but it’s mainly based on the Lovecraft story, THE CASE OF CHARLES DEXTER WARD.

I much prefer Poe to Lovecraft; the tentacles thing espoused by the latter isn’t really for me. I love a nice psychological horror story or haunted house tale, and my preferred ‘monsters’ are the Universal ones, lol. Still, there’s much to praise in this visually sumptuous first major filming of a Lovecraft work, even if you can’t help noticing the odd plot-hole.

Vincent Price plays the titular Charles Dexter Ward who, together with his lovely wife Ann, arrives at the spooky New England harbour village of Arkham in order to take possession of the family residence, the titular Haunted Palace, abandoned for a century or more.

The villagers are all horrified because Ward is the spitting image of his evil ancestor, Joseph Curwen, who was burned at the stake exactly one hundred and ten years earlier for being the male equivalent of a witch.

Curwen was a much more interesting individual than his insipid descendant Ward. In the  mid-1700s, he lured the virginal young women of Arkham to his house and tried to mate them with ancient deities spawned in his vast underground dungeon. Kick-ass, huh…? His ultimate goal was the resurgence of a master race of Old Gods, ‘such as Cthulhu and Yog-Sothoth.’

Unfortunately, these dubious ‘matings’ gave rise to several generations of hideous mutant or mutated eyeless monstrosities, some of whom are still alive and kicking and hidden in the locked rooms of the villagers of Arkham by the villagers themselves, whose progeny they are.

Some of the less dangerous, but no less physically shocking, mutants are brought out in force to scare the Wards away from Arkham, but Charles Dexter Ward has a destiny to fulfil, even if he doesn’t quite know it yet, and he opts to stay in his newly-acquired residence. There’s no law against a man living on his own property, is there? Of course there isn’t, more’s the pity for the poor doomed villagers…

To the horror of his loving wife Ann, Ward becomes possessed with the evil spirit of Joseph Curwen, through a magnificent portrait of the latter which hangs in the palace. Determined to carry out Curwen’s unfinished work of creating the master race of ancient gods through the mating of local young beauties with his basement ‘experiments,’ Ward/Curwen gathers around him his undead assistants of old, Simon Orne (Lon Chaney Jr., aka the Wolfman) and Jabez Hutchinson. Now he can pick up where he left off…

He seems to waste a lot of his newly-recovered time in trying to revive his long-dead mistress Hester Tillinghast, and also in revenging himself against the villagers who are direct descendants of the ones who burned Joseph Curwen to death over a century ago.

His two helpers beg him not to waste his time in petty vengeance, but Curwen feels that, after being dead for a hundred and ten years, he’s entitled to a little fun. Well, okay, fine, Master, but will there still be time to create a master race by forcibly mating your terrified wife Ann to the ungodly thing you’ve got hidden in your basement prison? If there is, there is, lol. We’ll have to see…

The movie, as well as being the first of Lovecraft’s works to be filmed, marks the first screen appearance of Lovecraft’s Necronomicon, a sort of mythical Book of the Dead which contains spells for conjuring up those ancient deities we mentioned earlier.

It’s the sort of really cool book which, if it really existed, you’d need permission from the Vatican to consult it, and you could only consult it by accompanying a grim-faced, disapproving elderly clerk in rusty black togs through several locked doors, the keys to which he keeps about his person.

In a huge, book-lined room, he’d take the book out of a locked safe, blow the dust off it and place it reverently on a table, and then he’d watch you like a hawk while you leafed nervously through its yellowed pages, looking for the bits you want to read. Oh, and you’re only allowed to consult the specific pages you’ve requested to see and no more. Can’t you just picture it…?

Vincent Price is perfectly at home in his two roles. Joseph has fancier, frillier togs and a sneerier, more menacing tone of voice than his nineteenth century counterpart, but Vincent Price is well able to chop and change between the two characters.

The sets are gorgeous, the costumes exquisite and the fog rolling in from the sea good and plentiful. The mutants are disturbing, the silhouette of the palace awe-inspiring and Lon Chaney Jr. as cuddly and loveable as ever he was in his Universal Wolfman films of the 1940s.

(I’m sure he thought he was being terribly frightening in that role, lol, but I’ve only ever thought of him as cuddly and loveable, with his cute little furry face and matching clodhoppers…!) 

I heartily recommend this Poe-Lovecraft mash-up. The critics had a lot to say about it- and not all good, either- but that doesn’t mean that it’s not both enjoyable and entertaining. Never mind the critics. What do they know? We’ll make up our own minds. Can I get an answering harrumph…?

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

HEREDITARY. (2018) REVIEW BY SANDRA HARRIS.©

hereditary mom

HEREDITARY. (2018) WRITTEN AND DIRECTED BY ARI ASTER. STARRING TONI COLLETTE, GABRIEL BYRNE, ALEX WOLFF, MILLY SHAPIRO AND ANN DOWD.

REVIEW BY SANDRA HARRIS. ©

‘It’s a neutral view of the accident…!’

Often, my first experience of a film that’s been released in the cinema to great acclaim is to watch it when the DVD comes out and everyone’s moved onto something else. That’s because, being a writer, I genuinely don’t get out much. Always slaving away at my desk trying to leave something worthwhile behind for humanity, lol.

Anyway, this is one film I bloody wish I’d seen on the big screen. Every second I spent watching the DVD was electrifying, it’s that good. Watching it unfold scene by scene at the cinema for the first time ever must have been a fantastic experience, not the kind you’re likely to forget any time soon.

HEREDITARY stars Toni Collette (MURIEL’S WEDDING, ABOUT A BOY, IMPERIUM), an actress who just seems to be getting better and better as she grows older. She steals the show completely in this film. She’s an absolute powerhouse in it. She plays Annie Graham, an artist, wife and mother who, when we meet her first, is getting ready to bury her mother.

It’s possibly most difficult to bury the mothers with whom we didn’t get along and with whom we have a troubled history, because there’s so much guilt involved, terrible, terrible guilt that makes for very heavy carrying. The ones we loved and were loved by, well, those deaths are bad enough to cope with, but anything more complicated, fuhgeddaboutit.

Annie is having trouble coping with her mother Ellen’s death, because they only seemed to get on intermittently and there’s a long complex back-story there. Annie even goes to a bereavement group that meets in town to see if it’s any help to her.

I think she shocks the group with how much detail she goes into about exactly how troubled her family history is. You can almost hear the group facilitator saying: ‘Well, it’s usually enough just to say your name, dear, and that you’re a wee bit sad…!’

Annie is married to Steve, played by Gabriel Byrne. (I know he’s Irish, like me, but I’ve never liked him. Too mopey and unsmilingly craggy-faced!) They’re obviously well-off and have a fabulous big house in the middle of an isolated forested area (the film was shot in Utah).

I’m not sure what Dad does (just Googled it, he’s a psychiatrist! Gabriel Byrne with his mopey unsmilingly craggy face would be perfect at playing a shrink, sitting for hours saying nothing with his legs crossed, bored, fiddling with his pen and polishing his specs, lol.), but Mom is a marvellous artist who works in miniatures and has exhibitions of her work and everything.

She creates the most amazing doll-houses and artistic installations featuring tiny people in various exquisitely-realised scenarios. Some of the scenes in the film actually make us feel like we’re looking at tiny little doll-people in a tiny little doll-house. It’s so cleverly done.

Anyway, Mom and Dad are no longer close after x amount of years together, married and bringing up children. Relationship-wise, they’re just going through the motions now. It happens, unfortunately, after that much time together. Familiarity breeds contempt and all that.

Peter, their teenager, is introverted, with not much to say for himself. He’s more interested in experimenting with drugs and trying to get girls to notice him than in interacting with his family. He’s absolutely your typical teenager. Annie in particular feels like every time she talks to him, she gets a sneer back and a rude back-answer. Again, par for the course with teenage boys. And girls…!

The Grahams also have a thirteen-year-old daughter, Charlie, who appears to be autistic or otherwise differently-abled, although we’re not sure because it’s not mentioned. Either way, she’s an odd little girl. I mean, is it normal for little girls to calmly cut the heads off dead birds with scissors, or to see their dead grandmothers sitting on the grass surrounded by a bank of flames and not turn a hair?

I’ll probably be lynched for being crass enough to notice this, but the film-makers have actually gone out of their way to make the little girl an ugly figure of menace, with strange unsettling facial features and a dumpy build that reminds one of the evil dwarf in the red duffel coat from Nicolas Roeg’s DON’T LOOK NOW. Like, don’t tell me that they didn’t have this film in the back of their minds when they were creating the look for the little girl…!

When Annie urges Peter to take an unwilling Charlie to a school party one night, in an attempt to socialise a child who clearly resents her efforts, an event occurs that might just be the most shockingly unexpected thing you’ve ever seen in a horror film. I mean, if Annie thought she was sad before, well, this is grief the like of which she didn’t even know existed. The family is in crisis. Joan from the bereavement group makes a timely entrance…

I was gripped by this film for the whole one hundred and twenty-two minutes of its duration. (The standard ninety minutes wouldn’t have been sufficient for this meaty horror plot.) Things start to happen fairly quickly after the night of the party and Toni Collette positively acts up a storm. The viewers begin to wonder exactly what the creepy old Grandma Ellen’s deal was in life, and in what way it’s possibly impacting on the Graham family now.

The scares come thick and fast, but not the flashy every-ten-seconds jump-scare-for-the-sake-of-it thing you’re probably familiar with from other modern horror movies. (James Wan, I do love you and keep making those brilliant CONJURING and ANNABELLE movies but I’m looking right at you, lol.) I’m not telling you guys too much for fear of spoilers, though. The film really is too good for that.

I kept being shocked at the plot twists and the freakish occurrences but in a really good way, and in such a way that I didn’t want the film to ever end. And I loved the way the plot moulded itself into one of my favourite horror movie themes in the end. I wasn’t disappointed with the climax, just stunned, and I feel like if I go back and watch the film again, certain things will now make more sense. Verdict? Top-notch stuff. Watch it, before it watches you…!

(PS, down the line, certain people might have to come to terms with the fact that a child’s treehouse may not be, shall we say, the most dignified location for meetings and gatherings of such magnitude, but any port in a storm, as we say.

After all, the Pope doesn’t hold his conclave thingies behind the wheel of the bumper cars at the local funfair, does he, and Donald Trump, the most powerful man on the planet because he’s the boss of the United States of America, wouldn’t be seen dead inviting his fellow politicians to vote on a Very Important Matter while enjoying some time on a bouncy castle on the grass verge out the back of the Whitehouse? Well, actually, as to that last one, I don’t know. I guess anything’s possible…!)

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:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.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:

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