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Night Must Fall

Friday October 28, 2016 in halloween | 60s cinema

The first of two halloween posts this year.

Theatrical poster for Night Must FallIn 1964 Albert Finney worked again with the director Karel Reisz on Night Must Fall, following their first collaboration four years previously on Saturday Night and Sunday Morning. Crucially the films bear no comparison at all, Finney proving his versatility and determination not to be typecast into any particular role or acting style.

The tag line for many of Night Must Fall’s original posters reads “the lusty bawling star of Tom Jones goes psycho”, so while audiences weren’t allowed to forget Finney’s most recent success, they were also enticed into seeing the new movie idol in a more controversial role. Hitchcock’s Psycho obviously still very much in the public consciousness at the time, the film’s marketing must have suggested that Finney was exploring Norman Bates territory.

If Wikipedia is anything to go by, Finney was one of the top ten box office stars at the time, so this film was a bold move for the actor who turned down Lawrence of Arabia. But unfortunately Night Must Fall was not a success and is mostly forgotten, perhaps the least remembered film of an actor who starred in comparatively few films anyway (indeed, Night Must Fall was only his fourth film and he chose to give the cinema a rest for three years after this, returning in 1967 with the equally odd Charlie Bubbles).

Night Must Fall is a remake of an even lesser known 1937 film of the same name, which was in turn based on the 1935 play by Emlyn Williams. With Reisz directing from a script by Clive Exton (who also wrote the screenplay for 10 Rillington Place) and with Finney as producer, it also stars Mona Washbourne, Susan Hampshire and Sheila Hancock. The film was entered into the 14th Berlin International Film Festival. The excellent black and white cinematography is by Freddie Francis, and whilst some of the acting is decidedly (and deliberately) offbeat, if you can find a good print of the film it looks amazing.

Finney is the centrepiece as Danny, an odd young man who charms his way into the house of an apparent invalid Mrs Bramson (Washbourne) and her daughter Olivia (Hampshire) via his girlfriend, their housekeeper Dora (Hancock). Affecting a Welsh accent, Finney is determined to pull out all of the acting stops from the beginning and succeeds in delivering quite a mesmerising performance. He makes it no secret he’s unhinged, and there’s no secret either that the brutal murder that forms the backdrop of the story is his responsibility. Going back to the Psycho comparisons, little is shown in terms of violence or bloodbath and brutal murder wise most is left to the imagination. Worming his way into her affections, Mrs Bramson allows Danny to call her “mother”, which leads to her downfall. So also, like Bates, Danny does appear to have parental issues that have led to his outlook on life, although it’s much more subtle here. And there’s many a quietly handled and telling scene; watch out for the “puzzle hand”.

Thinking about Night Must Fall and the period it was made, I’m inclined to place it somewhere between The Servant (1963) and The Collector (1965). The Servant because there are some similarities visually, there is the depiction of weird childish game playing, and the exploration of a class theme (although Danny’s wish to rise a social class is less explicit than Dirk Bogarde’s Barrett). The Collector because it was another film with American backing that placed a young British star (Terence Stamp) in a very peculiar and shockingly non-starry role. The Collector is a better and more convincing film in my view (and it also features Mona Washbourne) but Night Must Fall is still essential viewing.

Karel Reisz went on to direct Morgan: A Suitable Case for Treatment in 1966 which (along with Saturday Night and Sunday Morning) is a far more celebrated 60s film. Looking through Finney’s subsequent roles, I can’t really see anything he did that stands out in a way that Danny does. I’m willing to be challenged on this, but mostly he seems to have succeeded in his wish not to be pinned down in any way after his early success, moving between musical (Scrooge in 1970), detective (as the original Poirot in 1974’s Murder on the Orient Express) and horror (Wolfen in 1980) genres. And most recently James Bond: he’s the best thing in 2012’s otherwise dire Skyfall.


Robin Redbreast

Thursday December 24, 2015 in horror | forgotten cinema

What use would a woman’s blood be to the soil? It needs a man.

What if there was a precursor to such rural British horrors as The Wicker Man, Eden Lake and Sightseers ?

Robin Redbreast was broadcast as a BBC Play for Today in December 1970. Due to a power cut that evening, many viewers missed the full transmission and so it was rebroadcast a few months later. This was the first time a Play for Today had ever earned a repeat showing. It hasn’t been shown since however, and the recent DVD release only features a surviving black and white copy. Writer John Bowen was also responsible for the Ghost Story for Christmas in 1978 The Ice House.

Script editor Norah Palmer (Anna Cropper) leaves her friends in London, Jake (Julian Holloway) and Madge (Amanda Walker), seeking for “clearer thought” and rents a cottage in a remote rural area of southern England. Jake and Madge are sceptical of her departure – perhaps she’ll take to drink out there all alone (although they are never seen without a wine glass in hand)

Norah quickly meets a series of odd characters: Mrs Vigo, her intimidating housekeeper; Mr Fisher (Bernard hepton), a local amateur archaeologist; Rob a young man who practices karate in his underpants the woods; Mr Wellbeloved, the butcher; Peter an old man, constantly chopping wood. An eye-shaped marble is placed outside her window.

During the night a bird is put down the chimney into the cottage and Rob comes to Nora’s rescue. She allows him to seduce her, despite finding her contraceptive cap missing. She falls pregnant and the villagers contrive that she does not leave before Easter. Her car will not start, buses will not stop for her, and phone calls are cut off at the “exchange”.

Rob returns to discuss it all. They realise villagers surround the house and an eye appears at the keyhole. Two villagers enter, including Peter with his axe and Nora faints. She does not hear Rob’s screams. She awakes to find Mrs Vigo and Mr Fisher in the house. She is told that Rob has left to go to Canada.

Mr Fisher explains the cultural importance of the name Robin in British folklore: Robin Hood, Robin redbreast etc. We have already been told that Rob had been called “Robin” only by the villagers, and his real name was Edgar. He has played a sacrificial role, and will be replaced by a new “Robin”…

Robin Redbreast has a very matter of fact strangeness about it, helped by the lack of any soundtrack music. Bernard Hepton is superb as Fisher, a man you wouldn’t really want to let into your home. Cropper is pretty good too, and also worth looking for is the 1972 Dead of Night episode she appeared in called The Exorcism.


Siouxsie and the Banshees Halloween

Saturday October 31, 2015 in halloween | music

Siouxsie and the Banshees – Spellbound

The classic John McGeogh guitar. From the 1981 album Ju Ju.

Siouxsie Sioux and Brian Reitzell – Love Crime

From Hannibal season 3, 2015.


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