Good old Pete Walker. It’s nice to know that in 1974, when
Hammer was cashing in on popular trends by indulging in the colourful theatrics
of THE LEGEND OF THE SEVEN GOLDEN VAMPIRES and Amicus had just made one of
the best examples of the British ghost story movie in FROM BEYOND THE GRAVE,
someone was working hard at producing our own equivalent to Tobe Hooper’s THE
TEXAS CHAINSAW MASSACRE.
Like
Hooper’s film, much of FRIGHTMARE’s action takes place in an isolated location
in the country. Where it differs, however, is in its very British attitude
towards all the madness and horror that occurs there. Dorothy Yates (Sheila
Keith, whose performance I enjoy more and more every time I watch this film) is
a cannibal with a predilection for brains. But when she isn’t gibbering with
glee drilling open peoples’ skulls, or subjecting pretty Pamela Farbrother (who
you would think would have had enough of being tortured on film after CRY OF
THE BANSHEE) to a poker through the guts, she’s a kindly (and slightly pathetic)
little old lady who does crochet by the fire. Her husband Edmund (Rupert
Davies) knows exactly what’s going on but adheres to the time honoured British
traditions of Not Wanting Any Trouble and Pretending It Doesn’t Exist. Because
of Keith’s stellar performance Davies’ role often goes unnoticed but it’s also
a masterly study – this time in male impotence, never willing to take
responsibility and insidiously scheming so that the blame for any upset within
the family can be attributed to his daughter Jackie (Deborah Fairfax). Jackie’s
his daughter from his first marriage, which means she’s sane. Debra (Kim
Butcher) is Dorothy’s daughter, which means she’s not. Graham (Paul Greenwood)
is a psychiatrist which means he’s going to get everything wrong with self
confident superciliousness before dying horribly - Walker and screenwriter
David McGillivray do seem to have it in for the psychiatric profession in this
one. Graham’s boss is called Dr Lytell and he has an X-Ray upside down on the
screen in his office. He gets referred to the director of the mental
institution from which Edmund and Dorothy have been released. “We didn’t kick
them out for the fun of it you know,” he says. “They’re completely cured – as
sane as you or I.” Cut to bloodied corpse being hidden beneath straw in the
barn. And if we haven’t got the point by the end of the film, just as heroine
Jackie is about to be meat-cleavered in the face by her stepmother we get a
replay of the sentencing judge’s “And let the members of the public be assured
that you will remain in that institution until there can be no doubt whatsoever
that you are fit and able to enter society again” from the movie’s black and
white prologue.
It’s been
said that the first three collaborations between Walker and McGillivray (HOUSE
OF WHIPCORD, FRIGHTMARE, and HOUSE OF MORTAL SIN) form a trilogy in which the
respective institutions of the law, the family and the Catholic church are
attacked and to some extent satirised. I’ve found that much of the horror in Walker’s
films tends to stem from their implication of a lack of trust. We cannot trust
our elders and self-appointed ‘betters’, or our doctors, or our priests, or the
girl we’re married to (SCHIZO) or even a kindly old couple of housekeepers (THE
COMEBACK). Much of the power of the cunningly constructed endings to these
films lies in how believably the innocent parties are drawn to their fates. In Walker’s
world of horror, it’s always the scheming villains who will win, and you can’t
get more bleak than that.
Yeah loved this movie. Have the DVD of it. Very atmospheric and quite gory for its time.
ReplyDeleteA definite favourite, as you say both Keith and Davies are stunning.
ReplyDeleteOne day when I'm old and insane I may scare people at FCon by dressing up as Sheila Keith and performing lines from this.
ReplyDeleteIn a seventies horror mag, Sheila Keith was once described as a "distaff Karloff". To judge by the brilliance of her acting in such films as Frightmare and House of Whipcord, it is an appellation well justified!
ReplyDeleteYes it was an issue of UK Mag World of Horror, wasn't it? With a still from HOUSE OF MORTAL SIN on the cover. I remember buying that when it came out!
ReplyDelete