(1974)
Dir - Jack Cardiff
Overall: MEH
Famed cinematographer Jack Cardiff hung up his directorial hat with The Mutations, (The Freakmaker); a low-budget, updated mad scientist take on Tod Browning's Freaks. It is notable for containing both Donald Pleasence and Tom Baker, the latter just before he embarked on his career-making turn with Doctor Who the same year. Considering the sub-par production values and derivative plot line, it is no surprise that Baker is the most memorable aspect of the film. Even under crude, deformed makeup effects with a marbled voice and in a villainous role, the actor's towering charisma still shines through and he makes an imposing brute for his unfortunate small number of scenes. Elsewhere and similar to Browning's infamous initial film, several real abnormal performers are present, but Edward Mann and producer Robert D. Weinbach's script finds little to do with them besides retread a variation of the "One of us" scene. Throw in some nudity and laughable monster costumes and it is dopey stuff to be sure, but the two master thespians on board give it an air of respectability at least, be it undeserved.
(1975)
Dir - Peter Collinson
Overall: MEH
A recognizable cast spearheads Peter Collinson's remake of The Spiral Staircase, itself an adaptation of Ethel Lina White's novel Some Must Watch. While the plot follows a similar trajectory and all of the characters stick to their predetermined mannerisms, the updated setting and presentation make it singular enough from its 1946 predecessor. The perpetually smirking Christopher Plummer as the psychiatrist, John Phillip Law as his asshole brother, Gayle Hunnicutt as the saucy Southern bell, and Jacqueline Bisset in the vulnerable, mute lead are all sufficient in their roles, plus Collinson and cinematographer Ken Hodges capture the claustrophobic setting where everyone holds up in a spacious mansion during a power-outing thunder storm. It has a predictable outcome even for those who are unfamiliar with the source material though, which makes the long trek to get to the suspenseful parts too much of a chore. While everyone is likable on screen, their endless banter grows monotonous, as do Bisset's frequent flashbacks to the trauma that melodramatically caused her to lose the ability to speak. A classy production for such sensationalized stuff, but an unmemorable one all the same.
(1977)
Dir - Alberto De Martino
Overall: GOOD
Director Alberto De Martino was the go-to guy for knock-offs of famous horror blockbusters, having done 1974's The Exorcist cash-grab The Antichrist and three years later The Omen one with Holocaust 2000, (The Chosen, Rain of Fire, Lucifer's Curse). An Italian/British co-production that was filmed in the UK, it has a typically suave Kirk Douglas in the hero lead and an effectively off-putting Simon Ward as his diabolical yet charming son. The plot lingers too long before taking its end of days scenario seriously, with apocalyptic warnings being so gradually spaced out as to barely classify this as a horror movie until the third act. Thankfully, Douglas still had effortless charisma at this point in his career though and he carries many of the predominantly talky scenes through. Supernatural moments may be few and far between as well as more alluded to than overt, but De Martino stages said moments effectively, such as a helicopter beheading, a scientist getting attacked by electronic doors, and Douglas having a special effects laden nightmare while running through a beach in the nude. The ending is more unsatisfactory than eerily open ended, but the film as a whole still manages to overcome its blatantly derivative nature.
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