NIGHTMARE HONEYMOON (1974)

Title: NIGHTMARE HONEYMOON

Year of Release: 1974

Director: Elliot Silverstein

Genre: Drama, Horror

Synopsis: A couple on their honeymoon witness a murder, and are pursued by the killer.

Within a film history context: From the silent era onwards, there have been several movies which deal with couples on their honeymoon who encounter murder and mayhem. One of the first was Maurice Elvey's FOOTSTEPS IN THE NIGHT (1931). The honeymoon of a scientist and his wife is interrupted by a foreign agent, who wants to steal the plans for the scientist's newest invention, subsequently causing the couple nothing but trouble. With horror film THE BLACK CAT (1934), directed by Edgar G. Ulmer, a honeymooning couple is drawn into the warped life of an architect, with murder and intrigue aplenty. In William Clements' THE CASE OF THE VELVET CLAWS (1936), which was one of the Perry Mason series mysteries, Perry and wife Della's honeymoon is interrupted by a woman with a gun. She wants Perry to have a story about her and a man retracted from a newspaper, but that is just the start of events in this short movie. THE INVISIBLE MENACE (1938), directed by John Farrow, had an army private take his new bride for a honeymoon on an island, but discovering that chaos and murder reign supreme there. 

Arthur Wood's comedic HAUNTED HONEYMOON (1940), was similar in type. When a Lord, who is an amateur private eye, honeymoons with his new wife, a crime writer, at their new country home, they become embroiled in a homicide. HOMICIDE FOR THREE (1948), directed by George Blair, again had a honeymooning couple fall into suspense and murder. In this instance, a couple proceed to a hotel and find a suite, but homicide makes its presence felt in their lives in this thriller. David Friedkin's HOT SUMMER NIGHT (1957), had a reporter interrupt his honeymoon ardent on the trail of a bank robber, but whose investigations for him may prove lethal. Horror was the name of the game in KISS OF THE VAMPIRE (1963), directed by Don Sharp. Events on their honeymoon lead a couple into a European village where they encounter vampires, and the occult, in this British production. NIGHTMARE HONEYMOON was the most realistic production about a honeymoon given to murder and mayhem, for several reasons.

While it shared the tendency of the other movies to showcase a harried couple who fall into dangerous situations on their honeymoon, NIGHTMARE HONEYMOON was lacking in obvious suspense elements, which typified entries such as THE CASE OF THE VELVET CLAWS, HOMICIDE FOR THREE, and, in particular, KISS OF THE VAMPIRE. In NIGHTMARE HONEYMOON, it was a case of witnessing a blissful, newlywed couple flush with excitement at starting a new life together, and how their stumbling upon a horrific incident changes the course of their honeymoon, and their lives from therein. It was a naturalistic presentation overall in this way, and also featured elements of action movies in the chase sequences. Aside from this, it also did not have villainous characters who held prestigious positions, such as in FOOTSTEPS IN THE NIGHT and THE BLACK CAT. In NIGHTMARE HONEYMOON, the transgressors were thoroughly psychotic criminals, without a sterling pedigree, committing heinous acts. There was a lack of glamour in this respect, with the offenders dressed down, particularly compared to the well-heeled entries of the 1930s and 1940s. A beguiling look at honeymoon calamities, NIGHTMARE HONEYMOON was the most contemporary movie of its kind in its time.

Overview: Elliot Silverstein was an American director who made six feature films between 1965 and 1994, with a considerable break of seventeen years from his fifth, to his sixth and final project. He mainly helmed dramas, with his first two movies being comedies, but also tackled crime dramas, action, and horror. Mr Silverstein's inaugural picture, CAT BALLOU (1965), was a western comedy of a young woman whose father is murdered, and seeks retaliation for the crime. She in turn becomes an outlaw, and enlists the services of an inebriated gunfighter in her quest for justice. With a cast including Jane Fonda in the title role, and Lee Marvin as her gunman, it was one of the most successful films of the year. Less popular at the box office was Elliott Silverstein's next project, THE HAPPENING (1967). When a businessman is kidnapped by a group of young people for a hefty ransom, no one, not even his wife, offers to pay the amount. He then turns against these people, and sides with his kidnappers to extort money in this enjoyable comedy caper. 

Into the 1970s and after, A MAN CALLED HORSE (1970), was one of Elliot Silverstein's best-known works. The odyssey of an English aristocrat in a Native American tribe, eventually becoming their leader, rang the box office bell, and led to two sequels. Mr Silverstein's penultimate movie, THE CAR (1977), was a foray into horror. A car without a driver causes pandemonium in a small town, specifically of the murderous kind. Critically derided in its time, it was followed by a sequel over forty years later which met with the same disdain. Elliot Silverstein's last film, FLASHFIRE (1994), followed a police detective and his assorted problems. Despite having Louis Gossett Jr. and Billy Zane in the lead roles, it sank into oblivion. NIGHTMARE HONEYMOON was Elliot Silverstein's fourth motion picture, and a competent, if inconsistent movie.

Elliot Silverstein has made a forceful, but patchy film with NIGHTMARE HONEYMOON. Taking as its starting point the reception party of a newlywed couple, it shows them elated upon embarking on a new life together. This is aptly contrasted later when they encounter villains during their honeymoon, this experience marking them irrevocably. In this respect, there is a logical sequence of events in the film which make sense as a whole for the characters, and the story. Aside from this, NIGHTMARE HONEYMOON, at first glance, would seem to be an insidious exploitation tale with few redeeming qualities to recommend it. The advertising materials suggest something akin to a horror movie, with some unfortunate self-defeating copy which does not assist the film's cause. Upon viewing the film, it is refreshing that it is not as furtive as expected. NIGHTMARE HONEYMOON has murder and rape as some of its content, but, in both cases, shies away from closeup views of these crimes. In an era of cinema where crime was often depicted in thoroughly violent ways, the picture, as such, does not glamorize it. While this is a virtue of NIGHTMARE HONEYMOON, on the other hand, it could have gone further to engage viewers both visually, and storywise.

One of NIGHTMARE HONEYMOON's best aspects is its treatment of crime in a serious manner. The criminals are not bad people who are redeemed by the end of the movie, thus avoiding a distorted message to viewers. This is admirable to see, and the film's straightforward presentation also has its virtues. Where the picture could have been better is in the filming of certain key scenes. The rape sequence is one of these examples. The movie does not depict the rape onscreen in any manner, and prefers to explore the psychological impact of this on its victim. It could have, though, set up a scene where the rapist's eyes lock with the victim's, and her scream heard as he moves towards her. In addition, and in a spare manner, this device could have been repeated throughout the movie when the woman remembers her horrible experience. There is another downside in NIGHTMARE HONEYMOON's plotting which does not help the film.

Having the rapist disappear from the narrative for a large chunk of the picture has its disadvantages. There is a concentration upon the newlyweds, and how they come to terms with what happened to them, that is compelling to watch. The absence of the criminals, though, does let the proceedings down somewhat. Watching the criminals exact their revenge step by step would have added suspense. Aside from this, there is no substantial backstory for the rapist and his accomplice. This would have been beneficial, and added dimension to the character, and picture itself, as he is not a cardboard villain as such. The anger and violence displayed have their origin somewhere, and elaborating on this would have greatly enriched the film. In essence, these flaws reflect something about NIGHTMARE HONEYMOON. It is a film which has a few impressive scenes, but the overall delivery does not live up to expectations.

Acting: NIGHTMARE HONEYMOON has several performances of note. In the lead role of David Webb, one half of the central newlywed couple, Dack Rambo is convincing. An actor with a suave presence, here adds a little danger to the mix as the charming, but complicated David. David's new wife, Jill, is expertly portrayed by Rebecca Dianna Smith. Miss Smith effectively conveys the change in temperament from bubbly newlywed, to a woman suffering after being violated, with utter force. An actress who has vanished from screens since the mid-1970s, it would have been a treat to have witnessed more acting interpretations from her. The thorn in David and Jill's side, the villainous Lee, is a surprising turn by the underrated John Beck. Usually cast as a solid, amiable leading man whose soothing presence makes his female partner at ease, here is entirely contrary in role. Although Lee is a mean seed to the core, there is just something about John Beck in this part which captures the attention, despite the movie not getting into sufficient depth about his backstory. The last acting deserving mention was by Angela Clarke as a woman David finds at the park. Even though it is a small part, Miss Clarke is riveting as a woman caught in a difficult situation, but with a good man on her side to allay her fears.

Soundtrack: NIGHTMARE HONEYMOON is purposefully lean in terms of its soundtrack, and this works for the picture as a whole. Elmer Bernstein's score covers all the bases, from the quieter scenes with soft music, to the more thoroughgoing passages with stronger music. The opening, and closing credits are also of interest in that the former features pleasant wedding music, while the latter has a somber tone which reflects the sad tone of the concluding scenes.

Mise-en-scene: The onscreen experience of NIGHTMARE HONEYMOON is persuasive to witness for viewers. Colour photography by Harry Stradling Jr. is properly subdued, with a slightly more florid turn at the film's beginning making way for shadows, and darkness, as the movie unravels. This is in keeping with the plot, and feelings of the characters, expressed in a non-verbal way. Sets are elaborate and opulent, with David and Jill's bridal suite, and hotel restaurant the main standouts, thanks to set decorator James L. Berkey. Outdoor location shooting is also impressive, with the wedding festivities, and the climactic duel between David, and Lee, just two examples of properly orchestrated scenes.

Notable Acting Performances: Dack Rambo, Rebecca Dianna Smith, John Beck, Angela Clarke.

Suitability for young viewers: No. Adult themes, high-level violence.

Overall Grade: C

Link: IMDB Page

Trailer