(1970)
Dir - David Greene
Overall: GOOD
An adaptation of Audrey Erskine Lindop's book of the same name, I Start Counting frames its somewhat taboo, coming of age story amongst the backdrop of a serial killer who is picking off teenagers. The main focus is on Jenny Agutter, (in her first lead role at the age of sixteen, playing a fourteen year old), who as she is beginning to blossom into womanhood, finds herself having romantic feelings towards her step-brother that is over twice her age. This leads to the occasional psychological bout of fantasy even as she suspects him as being the murderer afoot in their community. Taking a less judgemental approach to young girls who are prone to unhealthy attractions, (both with Agutter's quasi-incestuous leaning and her promiscuous friend who flirts with boys and danger more directly), the story is not over-bearing in any sort of preachiness. Instead, it presents a relatable world where sexual awakening and curiosity is a natural element to one's development, except in this case, traumatic circumstances can complicate an already complicated, inevitable undergoing. The performances are good, with Agutter in particular showing an impressive knack for vulnerability that is impressive this early in both her life and career. It all manages to pack a number of thought-provoking surprises and does so without being overtly suspense-laden.
(1974)
Dir - Clive Donner
Overall: MEH
Overall: MEH
Made in the same year as the far more seminal Young Frankenstein, (and released in the states as Old Dracula on a double bill with Mel Brooks' aforementioned horror spoof), director Clive Donner's Vampira only packs in a small handful of laughs in its agreeable ninety-minute running time. The premise itself is ridiculous and cringe-worthy in an unintentional manner, concerning David Nevin's Count Dracula going through various cockamamie schemes to resurrect his lost love and once he does, find a way to change her skin color back to Caucasian since having her be the strikingly beautiful, (and African American), Teresa Graves will apparently not do at all. Also, he ends up in black face as a final gag at the end, oye. Aside from its un-wokeness, Jeremy Lloyd's script is a lazy concoction of inconsistent plot points that even for a comedy, take several illogical liberties to get to the next set piece. On the plus side though, Nevin is a hoot as the relatively polite, legendary blood sucker and Graves seems to be enjoying herself in a jovial fashion. There are also some recognizable minor parts and cameos from the likes of Carol Cleveland, Veronica Carlson, and Nicky Henson for fans of British horror and Monty Python respectfully.
(1978)
Dir - Jack Gold
Overall: GOODFollowing in the post The Exorcist/The Omen trajectory of supernatural horror films presented in a camp-less, more grounded fashion not previously akin to such genre movies, The Medusa Touch is one of the more less-known in the field. Based on Peter Van Greenaway's novel of the same name, director Jack Gold brings a stern tone to some far-fetched material concerning a novelist who wields his psychokinetic abilities for destructive purposes. The style is most interesting as it bounces within single takes between the past and present day where Richard Burton's harbinger of doom lies seemingly comatose in a hospital bed as his psychiatrist Lee Remick, (speaking of The Omen), and French detective Lino Ventura piece together the chain of events that brought him there. Dashes of dark humor are scattered hither and tither and the finale has a conventional sense of urgency to it, but most overt horror elements are underplayed. We are given no explanation as to the source of Burton's power, focusing instead on the suffocating, misanthropic effect that it has had on him, ultimately bringing him to a mad, "end of days" type of self-fulfillment. Not the most cheerful of tales to be sure, but the sincere approach, commendable performances, and tight pacing help make such bleak subject matter properly engaging.
No comments:
Post a Comment