SCREAM FOR HELP (1984)

Title: SCREAM FOR HELP

Year of Release: 1984

Director: Michael Winner

Genre: Drama, Suspense, Horror

Synopsis: A teenage girl suspects her stepfather is planning to murder both herself and her mother for the family inheritance, and seeks to find out the truth.

Within a film history context: Teenage girls with a penchant for being amateur detectives have not been a common sight on cinema screens over the years. One of the first, and most notable was the Nancy Drew film series, all directed by William Clemens, and starring Bonita Granville in the title role. Beginning with NANCY DREW...DETECTIVE in 1938, followed by NANCY DREW...REPORTER (1939), NANCY DREW...TROUBLE SHOOTER (1939), and culminating with fourth entry NANCY DREW AND THE HIDDEN STAIRCASE in 1939, it followed the adventures of a teenage girl who delves into mysterious events, and solves these cases. Robert F. McGowan's HAUNTED HOUSE (1940) had a teenage girl and boy team up to assist their friend who has been suspected of the murder of a woman. They makes mistakes along the way, but are able to find the real killer in this Monogram Pictures movie. 

One of the most notable films about a teenage amateur female detective was SHADOW OF A DOUBT (1943), directed by Alfred Hitchcock. A young lady is overjoyed that her uncle will be coming to visit her and her family, but his actions over time make her suspect him of crimes that are occurring of late. In contrast, Lloyd Bacon's HOMICIDE, SWEET HOMICIDE (1946) was about a novelist and her three young children, two of them girls, the youngsters taking it upon themselves to help solve the murder of a neighbour. 13 FRIGHTENED GIRLS (1963), directed by William Castle, centered upon a teenage girl who was the daughter of an ambassador, and assists a detective in espionage matters. SCREAM FOR HELP was one of the later films about a teenage female amateur detective, and no holds barred in terms of its narrative.

It was an updated version of the Nancy Drew films, with a teenage girl playing detective by acting upon her suspicions of her stepfather, who she believes wants to kill her mother, and herself, for their inheritance. In this way, it goes further than the Nancy Drew movies in the fact that it delves into the personal life of its main character, who is seeking answers to a something which is a burning issue for her, rather than just a mystery to be solved. This is a trait it shared with SHADOW OF A DOUBT's protagonist, whose intuition, as with Christie in SCREAM FOR HELP, guided her in finally reaching the truth about her uncle, regardless of what other people thought. SCREAM FOR HELP is also notable in this genre in the manner that Christie is treated in the narrative. 

This is unlike the other movies, mainly the Nancy Drew series, where the mystery is the key element more than the personal life of its lead character. Not only is Christie a daughter to Karen, girlfriend to Josh, thorn in the side of stepfather Paul Fox, and latterly Lacey and Brenda Bohle, this allows her to be seen from different vantage points in the movie. It is not just a matter of a teenage girl playing amateur detective, but this is supported by a private life which gives reasons for Christie's behaviour. SCREAM FOR HELP itself is not just a mystery movie but also branches out into other genres including horror, coming of age, teenage angst, and family drama. This is in line with the film's overall uncompromising presentation, thereby making Christie Cromwell anything but a cardboard character, but real, the audience able to relate to her situation. One of the most intense of the movies about a teenage female amateur detective, SCREAM FOR HELP is a gutsy film. 

Overview: Michael Winner was a British film director with thirty-four motion pictures to his credit over the space of thirty-eight years. He made many films which contained themes of crime, and people battling this, but also comedies, and musicals. Mr Winner's first film, SHOOT TO KILL (1960) is considered to be a lost movie. Detailing the activities of a showbusiness reporter, and his involvement in politics, it was mainly of interest as it featured Lynn Redgrave in a small role. Next came CLIMB UP THE WALL (1960), which was a musical comedy starring bandleader Jack Jackson, and a number of other celebrities. In programmer MURDER ON THE CAMPUS (1961) a man is suspicious of his brother's death, which appears to have been suicide. With the assistance of a woman, whose father has vanished, he sets out to prove that it was homicide, and not suicide, which occurred. Veering into exploitation territory was SOME LIKE IT COOL (1961), a comedy which was concerned with nudism. PLAY IT COOL (1962), on the other hand, charted the escapades of a rock singer and his band who become friendly with a young woman, the film containing many musical numbers. 

Michael Winner made another musical with THE COOL MIKADO (1963). In this movie, a young man does not want to marry a young woman of his father's preference, and joins the army, but falls for a Japanese woman while in Tokyo, with many romantic complications ensuing. It was back to crime themes for Michael Winner in WEST 11 (1963). A footloose young man is convinced by a criminal to murder his aunt for her money, but things take another turn. THE SYSTEM (1964) followed a Lothario photographer aiming to entrance a young woman during vacation season, but finding that she is more than a match for him, and his libidinous ways. Into the late-1960s THE JOKERS (1967), was another comedy, with two brothers hatching a plan to lift the Crown Jewels from the Tower of London, but matters were not as clear cut as they first thought. At the end of the 1960s came HANNIBAL BROOKS (1969), an action-comedy following a prisoner of war in Nazi Germany, and how he escapes with his elephant, headed for Switzerland. In the 1970s, Michael Winner made some of his most-recognized, famous movies.

THE GAMES (1970) was about several athletes competing at an Olympic Games marathon event, with an illustrious cast including Michael Crawford, Ryan O'Neal, and Charles Aznavour. THE NIGHTCOMERS (1971), unfortunately, was one of Michael Winner's most disappointing efforts. The tale of a sadomasochistic relationship between a governess, and a gardener, set in Victorian times was heavy on violence and sex, but light on atmosphere and suspense. Western CHATO'S LAND (1972) had a half-Native Indian killing a sheriff in self-defense, but this act leads to the rape of his wife, and revenge against those who had done this. THE MECHANIC (1972) was a character study of two men, one an older hitman, the other an aspiring assassin, but events occur to bring their relationship to melting point. THE STONE KILLER (1973) featured Charles Bronson as a private eye who investigates the killing of a hitman, and is drawn into an elaborate plot involving the Mafia. Next came one of Michael Winner's most controversial films - DEATH WISH (1974). The story of an architect whose wife is killed, and daughter raped during a home invasion, thus the impetus for him to become a vigilante on New York City streets, was a startling and successful movie. The DEATH WISH franchise led to several sequels, and Mr Winner directed the next two entries in the series, being DEATH WISH II (1982) and DEATH WISH 3 (1985). Both of these films, though, were not as critically acclaimed as the original, seen to indulge in an excess of violence. 

Michael Winner's next movie, WON TON TON: THE DOG WHO SAVED HOLLYWOOD (1976)  was a change of pace for the director. A comedy about a silent screen dog who reaches the heights of stardom, it was notable for its many guest stars from the Golden Years of Hollywood. Mr Winner then made a foray into horror with THE SENTINEL (1977), where a young woman goes to live in a Brooklyn apartment, but discovers that the building is a hotbed of demonism. It was back to crime territory with THE BIG SLEEP (1978). Another instalment in the film version of Raymond Chandler's detective story, it was set in London rather than Los Angeles, and starred Robert Mitchum in the lead role. Michael Winner ended the decade with FIREPOWER (1979) an action movie about a woman seeking revenge for the murder of her husband, and thereafter finding an intricate web of lies and deceit. Into the 1980s and after, Michael Winner made several movies, but none that matched his output from the 1960s and 1970s.

THE WICKED LADY (1983) was a racy remake of the 1945 film of a restless young woman who plays with hearts, but falls for a highwayman, in turn becoming both his accomplice, and lover. In complete contrast, a piece with a decidedly period feel was APPOINTMENT WITH DEATH (1988), set in the 1930s. Based upon Agatha Christie's Hercule Poirot mysteries with an all-star cast, a hated woman is found dead, and many people suspected of her demise. Softer in tone was A CHORUS OF DISAPPROVAL (1989). A young widower becomes part of an amateur theater musical group, which not only helps him, rising to male lead but also, success with the female members of the group.  BULLSEYE! (1990) was a financial failure concerning two inept scientists, and their various schemes which result in much intrigue and derring-do. Michael Winner's second last movie, DIRTY WEEKEND (1993) was a violent film about a young woman harassed by a man, then killing him, and continuing a murder spree, subsequently dispatching six more men. Mr Winner's final film, PARTING SHOTS (1998), was a variation on the director's common themes of crime and revenge, with a terminally ill man purchasing a gun, and planning to exact retaliation on those who had wronged him. SCREAM FOR HELP was one of Michael Winner's later films, and a satisfactory, if flashy work.

With SCREAM FOR HELP, Michael Winner has made a fast-paced, watchable film that easily keeps the attention from beginning to end. Utilizing the suspense-investigative structure that permeated some of his movies, such as MURDER ON THE CAMPUS, THE STONE KILLER, and FIREPOWER, in this instance, the person doing the probing this time is a teenage high school student. While, at the outset, this might seem to be an inappropriate choice for a protagonist, the director, through the twists and turns of the movie, makes this work in a convincing manner. Aside from this, SCREAM FOR HELP is also reminiscent of Michael Winner's other movies with a revenge theme. This is something that Mr Winner explored in CHATO'S LAND, DIRTY WEEKEND, PARTING SHOTS, and, in particular, DEATH WISH. 

SCREAM FOR HELP recalls the home invasion scenario which DEATH WISH contained as the crux of that film, but in SCREAM FOR HELP turns this on its ear. Instead of the mother and daughter being the tragic victims of the home invasion, powerless to fend off their attackers, in SCREAM FOR HELP, Christie and her mother turn the tables on their assailants. They set up an elaborate chain of events which spell the demise of these criminals, taking these protagonists far and away from DEATH WISH's ill-fated mother and daughter. The bonding of these two women is one of the best parts of the film, giving it a sympathetic edge in the face of seemingly insurmountable odds. This is an example of one of the strongest segments of SCREAM FOR HELP, where the psychological processes of these characters are laid bare to audiences. In saying this, though, the movie also has accompanying flaws which are evident when analysing the film as a whole.

Several key story points in SCREAM FOR HELP, while understandable to the audience, would have benefitted from further expansion and elaboration. Christie's dislike of her stepfather, effectively stealing her mother away from her father, while clear, is treated as a sideline, rather than the deeply emotional event it should have been. It does propel Christie to act the way she does, but it is slightly flimsy in its execution. The relationship of Brenda and Lacey Bohle is another story that could have had further depth. Aside from their criminal leanings, there is the domestic violence between Lacey and Brenda, his maltreatment  of her, which seems to be borne out of aggression and poverty, seeing the rundown house they inhabit. Again, the movie glosses over these situations, and makes them two-dimensional, where there could have been deeper psychological portraits drawn of these people. Instead, SCREAM FOR HELP takes the easy way out, indulging in visual thrills and spills to cover up its deficiencies. The movie, in effect, is high concept in the way it treats its situations, always going for the jugular in a visual sense, which does become grating. A more nuanced feel to the film in terms of pacing, building suspense, and seeing things more through the eyes of its characters, would have been helpful. All in all, SCREAM FOR HELP, while having many weaknesses, is nevertheless an entertaining motion picture with punch.

Acting: SCREAM FOR HELP has an attractive cast who provide great performances. In the lead role of Christie Cromwell, Rachael Kelly does an excellent job as the intuitive young lady who listens to her instincts no matter what other people say in the movie. A lovely actress for whom this, unfortunately, was her only film role, her acting gives the movie a strong point from which the other actors, and events, radiate. As Christie's mother Karen, Marie Masters is well-suited with Miss Kelly, seeming like a real mother and daughter, even though it would have been beneficial to have seen more of Miss Masters in the movie, as she had a nicely funky style to her acting. The pivotal role of Paul Fox, husband of Karen, and stepfather to Christie, is given a malevolent edge by David Allen Brooks, A good-looking actor who seems utterly at home in a dinner jacket on the one hand, and spouting sadistic epithets on the other hand, he does a great job as the secretive, slow-burn Paul. Three other performances emphasize the distinctive acting in SCREAM FOR HELP.

As arch-villain Lacey Bohle, Rocco Sisto puts his all into the sweaty, complex character he inhabits, making him utterly compelling. Even though the resolution his character receives is violent, he still evokes a small slice of sympathy in the viewer. His wife, Brenda Bohle, is played with a sinister, yet vulnerable edge by Lolita Lesheim. An actress with an unconventional beauty, Miss Lesheim's deep voice, and ability to amplify her character's feelings with just the raise of an eyebrow make her one of the 1980s best femme fatales. The final acting of note was by Corey Parker as Josh, Christie's boyfriend. Despite playing someone who could be classified as a young adult bodice ripper, having his way with the young women in the movie in his subtle manner, Mr Parker makes it understandable to the audience with his charm, and sympathetic ways.

Soundtrack: SCREAM FOR HELP has a very good soundtrack, but the employment of it within the film is questionable at times. On the one hand the sweeping orchestral music is lush, and pleasant to take in, adding drama to what is taking place onscreen. On the other hand, the musical score has the habit of overwhelming scenes, taking attention away from moments which should have been touching, or quiet. Aside from this tendency, 'Christie', the theme song of the lead character is somewhat incongruous, and detracts from the mood at the end of the movie. It would have been better to feature the 'Christie' piece without lyrics, as these tend to give the film a cheesiness it does not deserve. It could be said that as SCREAM FOR HELP is not the most subtle motion picture overall, that possibly this more blaring approach to its music may, in some ways, suit it.

Mise-en-scene: SCREAM FOR HELP is well-done in its onscreen experience for spectators. Cinematography by Robert Paynter makes the New York locations pretty to witness, outdoor scenes being particularly beautiful. Set decoration by Gary Brink draws telling contrasts, for example, between the wealthy Cromwell mansion, with its well-appointed rooms and expensive furniture, and the lower-level Bohle house, with its unkempt gardens and surroundings. Stunts and, in particular, special effects, especially during the various death scenes, are realistic, and effectively bloody.

Notable Acting Performances: Rachael Kelly, Marie Masters, David Allen Brooks, Rocco Sisto, Lolita Lesheim, Corey Parker.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes, high-level violence.

Overall Grade: C

Link: IMDB Page

THE NIGHTCOMERS (1971)

Title: THE NIGHTCOMERS

Year of Release: 1971

Director: Michael Winner

Genre: Drama, Horror, Period

Synopsis: In Victorian times, a gardener and his lover, who is a governess to two children in an English manor carry on an illicit affair, but the children have their own agenda for the couple.

Within a film history context: Movies which focus upon the Victorian Era in England have been plentiful in cinema. Those specifically expressing evocations of darker themes have been periodically shown on cinema screens throughout the years. One of the first in this vein was Alfred Hitchcock's THE LODGER (1927). The story of a serial killer in Victorian era London, and how a lodger residing in a home is suspected of these crimes, was one of the director's earliest pictures, and a vehicle for matinee idol Ivor Novello in the lead. Into the sound period came DR. JEKYLL AND MR. HYDE (1931), directed by Rouben Mamoulian. The classic story of a doctor with dual personalities, one good, one evil, was given florid treatment here, with Fredric March in the main part. With Stuart Walker's MYSTERY OF EDWIN DROOD (1935), a choirmaster leads a double life, and becomes obsessed with a young woman, his manic inclinations reaching boiling point, leading to suspicions of murder. Mayhem was also evident in THE DEMON BARBER OF FLEET STREET (1936), directed by George King. An odious barber befriends customers in his shop, thereafter killing them, and stealing their money. The 1940s featured many diverse films which also examined the Victorian Era in England.

Victor Fleming's DR. JEKYLL AND MR. HYDE (1941) was a remake of the earlier movie from 1931, this time with Spencer Tracy excellent in the lead role of the disturbed doctor, with solid support from Ingrid Bergman, and Lana Turner. GASLIGHT (1944), directed by George Cukor, was about a man who systematically seeks to drive his wife insane to cover up a crime he committed years ago. Taking a leaf out of Alfred Hitchcock's THE LODGER was John Brahm's 1944 THE LODGER. Following similar territory as the first film, this time around with a man brutally murdering women in Victorian London, the killer takes his own life in this version. MOSS ROSE (1947), directed by Gregory Ratoff, followed a scheming chorus girl who insinuates herself into the life of a man, blackmailing him as he had left a crime scene, but events will not leave her alone. Lewis Allen's SO EVIL MY LOVE (1948) was about a woman emotionally manipulated by a charming man, and becoming implicated in his unorthodox schemes, with tragic consequences. The real-life story of murderer Charles Peace was brought to the screen in THE CASE OF CHARLES PEACE (1949), directed by Norman Lee. Charting his troubled existence and various crimes, among these the killing of a policeman, ending with his hanging execution. Also coming at the end of the 1940s, Jean Negulesco's THE FORBIDDEN STREET (1949) was about a wealthy woman marrying a poor artist, who dies, their union a turbulent one. She then marries another man who resembles her late husband, and their life together is much different in nature.

THE SON OF DR. JEKYLL (1951), directed by Seymour Friedman, was about the son of Dr Jekyll, Edward, and how he tries to continue his father's work as a chemist, but comes across opposition from another doctor, who seeks to ruin his reputation. The mystery was also thick in Maurice Elvey's THE LATE EDWINA BLACK (1951). When a woman unexpectedly passes away, suspicion about the circumstances surrounding her death fall on her husband and her best friend, but things become murkier over time for the detective investigating the case. THE HOUR OF 13 (1952), directed by Harold French, mined serial killer themes yet again, with a jewel thief becoming enmeshed in the murders of police officers in Victorian London. With Arthur Lubin's FOOTSTEPS IN THE FOG (1955) a treacherous man kills his wife, but is later manipulated by his maid, who wants to become his next wife, but both suffer for their insidious actions. Once again a serial killer was the crux of THE HAUNTED STRANGLER (1958), directed by Robert Day. This time around, a man delves into the case of a killer hanged for killing a string of women twenty years prior, but becomes possessed by the spirit of the murderer. Yet another film about a Victorian serial killer could be found in Monty Berman and Robert S. Baker's JACK THE RIPPER (1959). In this instance, an American detective is assigned to help Scotland Yard in finding this mysterious, infamous murderer of the late 1880s.

Horror was at the forefront of THE TWO FACES OF DR. JEKYLL (1960), directed by Terence Fisher. The doctor and scientist is at it again, this time taking a potion, and committing crimes before being brought to justice.  Jack Clayton's THE INNOCENTS (1961) was of a gothic persuasion in comparison to other Victorian era movies which dealt in murder and mayhem. A governess to two children becomes embroiled in the mystery of what happened to the children's previous governess, and her gardener lover, with many unexpected twists and turns. Fear of being buried alive was what consumed the narrative of THE PREMATURE BURIAL (1962), directed by Roger Corman. In this movie, a man has this fear which causes no end of grief not only for himself, but also, his wife. Campy shenanigans also marked Terence Fisher's THE PHANTOM OF THE OPERA (1962). In late Victorian London, a disfigured man, the eponymous phantom, causes mayhem, and commits murder, which are connected to personnel at the London Opera House. In contrast, Sherlock Holmes and Dr. Watson were the main protagonists in A STUDY IN TERROR (1965), directed by James Hill. This time around, the investigative duo are on the trail of elusive serial killer Jack the Ripper in 1880s London. At the end of the 1960s, Gordon Hessler's THE OBLONG BOX (1969) was an American International Pictures production made in Britain. A man is kept locked away from sight from his brother, an aristocrat, but with the assistance of unscrupulous people, fakes his passing, and causes death to those who double cross him in this complicated movie. THE NIGHTCOMERS was another entry in films set in the Victorian Era, but with some of its own defining characteristics.

The movie shared the motifs of skullduggery, dirty doings and murder which marked the darker Victorian films, but also highlighted a sadomasochistic male-female relationship within its framework. This was far removed from the psychologically loaded, but more conventional, heterosexual unions of movies such as GASLIGHT, THE FORBIDDEN STREET, and FOOTSTEPS IN THE FOG. THE NIGHTCOMERS was the most sexually-forward, explicit movie of the Victorian era films, going much further in depicting the relationship of a surly man, and a mealy-mouthed governess, both given over to sexual perversity. Aside from this, there is the presence of minors in THE NIGHTCOMERS who motivate much of the action, which is something missing from previous movies. THE INNOCENTS was the one film where younger characters receive equal airing as the adults, but this was the exception rather than the rule for the genre.

In general, adult characters were the ones initiating the goings-on in the other Victorian movies, with younger people largely missing from the canvas. In THE NIGHTCOMERS the children are demonic, and more evil than the gardener, which is a surprising element in THE NIGHTCOMERS. There is a contrast between the surface appearances of the well-spoken and presentable youngsters, and their copying of the acidic relationship of the gardener and the governess. The implication is that children learn by example, which is something this movie seems to be saying. This also gives THE NIGHTCOMERS a controversial notability of sorts, in that it pushes the boundaries not only of male-female relationships but also, those depictions of children as well. The notion of childhood innocence is turned on its ear in this movie, and that youthful games can sometimes lead to death and disaster. One of the most extreme of the Victorian era movies in content, THE NIGHTCOMERS is a taxing movie to watch.

Overview: Michael Winner was a British film director with thirty-four motion pictures to his credit over the space of thirty-eight years. He made many films which contained themes of crime, and people battling this, but also comedies, and musicals. Mr Winner's first film, SHOOT TO KILL (1960) is considered to be a lost movie. Detailing the activities of a showbusiness reporter, and his involvement in politics, it was mainly of interest as it featured Lynn Redgrave in a small role. Next came CLIMB UP THE WALL (1960) which was a musical comedy starring bandleader Jack Jackson, and a number of other celebrities. In programmer MURDER ON THE CAMPUS (1961) a man is suspicious of his brother's death, which appears to have been suicide. With the assistance of a woman, whose father has vanished, he sets out to prove that it was homicide, but not suicide, which occurred. Veering into exploitation territory was SOME LIKE IT COOL (1961), a comedy which was concerned with nudism. PLAY IT COOL (1962), on the other hand, charted the escapades of a rock singer and his band who become friendly with a young woman, the film containing many musical numbers. 

Michael Winner did another musical with THE COOL MIKADO (1963). In this movie, a young man does not want to marry a young woman of his father's preference, and joins the army, but falls for a Japanese woman while in Tokyo, many romantic complications ensuing. It was back to crime theme for Michael Winner s in WEST 11 (1963). A footloose young man is convinced by a criminal to murder his aunt for her money, but things take another turn. THE SYSTEM (1964) followed a Lothario photographer aiming to entrance a young woman during vacation season, but finding that she is more than a match for his libidinous ways. Into the late-1960s THE JOKERS (1967), was another comedy, with two brothers hatching a plan to lift the Crown Jewels from the Tower of London, but matters were not as clear cut as they first thought. At the end of the 1960s came HANNIBAL BROOKS (1969), an action-comedy following a prisoner of war in Nazi Germany, and how he escapes with his elephant, headed for Switzerland. In the 1970s, Michael Winner made some of his most-recognized, famous movies.

THE GAMES (1970) was about several athletes competing at an Olympic Games marathon event, with an illustrious cast including Michael Crawford, Ryan O'Neal, and Charles Aznavour. Western CHATO'S LAND (1972) had a half-Native Indian killing a sheriff in self-defense, but this act leads to the rape of his wife, and revenge against those who had done this. THE MECHANIC (1972) was a character study of two men, one an older hitman, the other an aspiring assassin, but events occur to bring their relationship to melting point. THE STONE KILLER (1973) featured Charles Bronson as a private eye who investigates the killing of a hitman, and is drawn into an elaborate plot involving the Mafia. Next came one of Michael Winner's most controversial films, DEATH WISH (1974). The story of an architect whose wife is killed, and daughter raped during a home invasion, thus the impetus for him to become a vigilante on New York City streets, was a startling and successful movie. The DEATH WISH franchise led to several sequels, and Mr Winner directed the next two entries in the series, being DEATH WISH II (1982) and DEATH WISH 3 (1985). Both of these films, though, were not as critically acclaimed as the original, seen to indulge in an excess of violence. 

Michael Winner's next movie, WON TON TON: THE DOG WHO SAVED HOLLYWOOD (1976)  was a change of pace for the director. A comedy about a silent screen dog who reaches the heights of stardom, it was notable for its many guest stars from the Golden Years of Hollywood. Mr Winner then made a foray into horror with THE SENTINEL (1977) where a young woman goes to live in a Brooklyn apartment, but discovers that the building is a hotbed of demonism. It was back to crime territory with THE BIG SLEEP (1978). Another instalment in the film version of Raymond Chandler's detective story, it was set in London rather than Los Angeles, and starred Robert Mitchum in the lead role. Michael Winner ended the decade with FIREPOWER (1979) an action movie about a woman seeking revenge for the murder of her husband, and thereafter finding an intricate web of lies and deceit. Into the 1980s and after, Michael Winner made several movies, but none that matched his output from the 1960s and 1970s.

THE WICKED LADY (1983) was a racy remake of the 1945 film of a restless young woman who plays with hearts, but falls for a highwayman, in turn becoming both his accomplice, and lover. It was back once again to crime, this time in the suburbs, with SCREAM FOR HELP (1984). A young woman suspects that her mother's new husband is up to no good, and discovers that he is planning to kill them both for the money. She hatches a plan to foil his scheme, with much angst and violent occurrences taking place. In complete contrast, a piece with a decidedly period feel was APPOINTMENT WITH DEATH (1988), set in the 1930s. Based upon Agatha Christie's Hercule Poirot mysteries with an all-star cast, a hated woman is found dead, and many people suspected of her demise. Softer in tone was A CHORUS OF DISAPPROVAL (1989). A young widower becomes part of an amateur theater musical group, which not only helps him, rising to male lead but also, success with the female members of the group. 

BULLSEYE! (1990) was a financial failure concerning two inept scientists, and their various schemes which result in much intrigue and derring-do. Michael Winner's second last movie, DIRTY WEEKEND (1993) was a violent film about a young woman harassed by a man, then killing him, and continuing a murder spree, subsequently dispatching six more men. Mr Winner's final film, PARTING SHOTS (1998), was a variation on the director's common themes of crime and revenge, with a terminally ill man purchasing a gun, and planning to exact retaliation on those who had wronged him. THE NIGHTCOMERS, Michael Winner's sixteenth movie was, unfortunately, one of his most disappointing efforts. 

Michael Winner had a reputation for making films that pushed the boundaries in terms of taste and acceptability, taking on challenging themes, and following through with these in an uncompromising manner. THE MECHANIC, THE STONE KILLER, SCREAM FOR HELP and, in particular, DEATH WISH are examples of this, where the films have the courage of their convictions, despite the heady nature of the movies themselves at times. THE NIGHTCOMERS has neither the style, nor the continuity of the above examples, and is one of Mr Winner's least satisfactory movies. There are several reasons why this is so. With THE NIGHTCOMERS, Michael Winner has made a motion picture that mainly relies on shocks and visual stimuli to maintain interest, at the expense of a story with emotion. The black humour that worked in some of his movies with more serious subjects, such as DEATH WISH, is at sea in THE NIGHTCOMERS. It comes across as callous and cruel, in light of the tragic turn events take at the film's end. These features lead the film on a path of indifference from which it cannot recover.

Scenes are inherently cold, moving from one situation to the next, without any suspense to grip the viewer. Barbarity and sexual perversions are high on the list of this movie, and it creates nothing but a sour taste in the mouth. The central relationship is one which the film is at pains to depict as dangerous and permissive, but later painted as a Romeo and Juliet-type story, which does not add up to a cohesive whole. The characters in this 'love story' are never given a chance by the writing to express the reasons they want to be together, or any real delving into why they indulge in these deviant sexual practices. It is all about flashiness, doing things that appear to be daring, but which are at heart sick, and demeaning. The treatment in particular of the lead female character is especially tasteless, and something that any self-respecting woman, and man, should rail against. In addition, the portrayal of the children is equally disturbing, and shallow. Aside from some good performances, it all adds up to nothing in the end. One of Michael Winner's most wanting movies, THE NIGHTCOMERS is an inferior film experience.

Acting: THE NIGHTCOMERS is a film where the direction, and writing affected the quality of the acting. In the lead role of Peter Quint, the manor's gardener, Marlon Brando, unfortunately, is not in one of his best roles. A performer who had some stunning parts in the first part of his career, but whose later roles were not of the same level, here stagnates in the poorly-written part of Quint. As Miss Jessel, Quint's lover, and governess to the two children living in the manor, Stephanie Beacham is also hampered by a lack of finesse in the writing. An actress who can perform in spades, her roles in television series The Colbys and Dynasty proof of this, here does her best with what is a lackluster role that takes no advantage of her immense acting prowess. On the other hand, THE NIGHTCOMERS is a showcase for Thora Hird, thoroughly convincing as the manor housekeeper Mrs Grose. With her sharp voice and commanding ways, she brings authority to her role. Christopher Ellis, as Miles, one of the two juveniles living at the manor, brings his well-spoken young man to life, albeit with a cunningly evil edge that works. The final acting of note was by Verna Harvey as Flora, Miles' sister. As with Christopher Ellis, her precise diction and faux innocence does wonders as the comely young woman with an evil agenda on her demonic mind.

Soundtrack: THE NIGHTCOMERS' musical soundtrack is one of the best features of the movie. Composed by Jerry Fielding, his sensitive instrumental theme adds atmosphere and urgency to the film, making up in its elegant manner for the overall inadequacy of the production.

Mise-en-scene: Cinematography by Robert Paynter is beautiful, suitable to the downbeat nature of the material, a measured use of colour. Costuming by Ray Beck is also of a high standard, convincing the audience of the film's Victorian setting. Locations such as the Victorian Manor, and outdoor locales are all well-utilized, giving THE NIGHTCOMERS a verisimilitude that works on a visual level.

Notable Acting Performances: Thora Hird, Christopher Ellis, Verna Harvey.

Suitability for young viewers: No. Female nudity, adult themes, high-level violence.

Overall Grade: D

Link: IMDB Page

Trailer