Category Archives: Foreign Films

Rita, Sue and Bob Too (1987)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Dad fucks the babysitters.

Rita (Siobhan Finneran) and Sue (Michelle Holmes) are two friends from high school who babysit for Bob (George Costigan) and his wife Michelle (Lesley Sharp). One night while Bob is taking the two babysitters home in his car he decides to make a sexual overture to them and they both enthusiastically reciprocate, which ends up turning into a mini sex orgy. Soon the three are routinely getting together for sexual trysts until Michelle eventually catches on and leaves Bob while taking the kids with her. Sue’s parents find out too, which causes a great deal of stress and infighting amongst the three.

This offbeat comedy unexpectedly became a big worldwide cult hit that made stars of the three leads particularly the two women whose first film this was. Unfortunately the same cannot be said for the film’s director Alan Clarke or its writer Andrea Dunbar who both tragically died just 3 years after the film’s release. Clarke from cancer while Dunbar, who was living on welfare and an alcoholic, passed away at her local pub at only 29 years of age.

The film comes off as an odd mix of lighthearted comedy and gritty drama that doesn’t completely work. The story jumps from the upscale middle class neighborhood of Bob’s house to the abject poverty of Sue and Rita’s family life with their apartments so vividly rundown that it’s almost horrifying to imagine anyone could live in such squalor. Part of the reason for this shift is that the film was based on two of Dunbar’s plays, the first being ‘The Arbor’, which was an autobiographical story of her growing up in the slums and at the hands of an abusive father, which she wrote at the age of 15 as a class project, and the other on a later play that she wrote with the same title as the film.

Why director Clarke choose to mix the two plays together into one film I’m not sure. Maybe he thought it would give the story more substance, but it really doesn’t. The antics that go on here could’ve happened in any neighborhood and income bracket making the stark, dramatic scenes of the girl’s sad home life seem inconsequential and meandering.

I didn’t like the film’s abrupt start either as it jumps almost immediately to the three getting-it-on inside the car without any backstory. I kept wondering when did Bob get the idea to make a pass at the two girls and why are the girls so unsurprised when he does? I would think most young women would be shocked when an older man that they babysit for would suddenly make an aggressive sexual come-on and yet here these two aren’t, but why? What sort of signals were the two sending out to Bob to make him feel that he could behave the way he does? Was he already getting ideas when they first came to babysit for him, or did it evolve later? These questions and scenarios never get shown or answered, but should’ve.

We also never see Rita and Sue interacting with the children. The scenes involving their babysitting shows them either sitting watching TV or stuffing their faces with snacks after raiding Bob’s refrigerator while the two children remain complete afterthoughts that are only shown briefly for a few seconds at the 54 minute mark and that’s it, which then brings me to another crucial question. Why is it necessary to hire two babysitters to watch over two kids? When I was younger and babysat I could easily watch my neighbor’s two kids without any help. When I was a child only one babysitter was hired to look after me and my two siblings. Hiring two teen girls to look after two kids is highly impractical and quite unusual to the point that it makes no sense.

The ending leaves open a lot of questions making the film seem almost like an incomplete treatment to a wider story. For instance the three end up moving in together without showing whether this unusual living arrangement would be able to sustain itself long term. I was also curious to see how Bob would explain this arrangement to his children when they came to visit. There is also a side-story dealing with Sue’s relationship with a Pakistani boyfriend (Kulvinder Ghir) that seemed better suited for another movie altogether.

The scenes involving the three inside the car are the funniest, but otherwise I’m not sure why this movie became the hit that it did.  There’s also too many tracking shots almost like director Clarke found himself a new toy that he couldn’t help playing with. Initially the constantly moving camera comes off as innovative and gives the film added energy, but it ends up getting overdone.

My Rating: 5 out of 10

Released: May 12, 1987

Runtime: 1 Hour 33 Minutes

Rated R

Director: Alan Clarke

Studio: Film Four International

Available: DVD, Blu-ray

The Story of Adele H. (1975)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: She obsesses over soldier.

Based on actual events the story centers around Adele Hugo (Isabelle Adjani), the second daughter of famous French writer Victor Hugo, who in 1863 travels across the Atlantic to Halifax, Nova Scotia where she tries to rekindle her relations with Albert Pinson (Bruce Robinson). Pinson is now an officer in the British army and no longer has any interest in Adele. Adele though refuses to accept his rejection and makes numerous attempts to get him to marry her. The more indifferent he becomes the harder she tries, which eventually drives her into a complete madness.

Director Francois Truffaut took the accounts from Adele’s actual handwritten diary to help recreate the story. Unlike most films nothing was altered from the documented facts and although the stalker /jilted lover theme may seem like an overused storyline by today’s standards it was still a fresh topic back in the ‘70s and one of the first documented cases in human history of what has now become known as erotomania where a person becomes convinced that the object of their desires is in love with them even when they really aren’t.

What helps this film to stand out is that the audience isn’t made to fear the woman and her actions are not portrayed as being menacing. Instead the viewer feels genuinely sorry for her as we witness firsthand how debilitating mental illness can truly be as it destroys this otherwise beautiful woman’s personality and leaves her only a shell of a person in the process.

Adjani is excellent and although the film remains compelling it still comes off as feeling incomplete. Part of the problem is that we only see the character at one stage of her life. Reportedly in real-life Adele only started to show signs of mental illness when she reached her mid-20’s, so it would’ve been interesting to have seen scenes from when she was younger and behaving more normally. Flashbacks of when Adele first met Pinson, who was initially interested in Adele and even proposed marriage to her, would’ve been intriguing to see as well.

We’re never shown Adele’s relationship to her father either, which could’ve been quite revealing. We hear voice-overs from when he sends her letters, but seeing the two interrelate in-person was needed. This may have been the result of Truffaut given the rights to film the story by Jean Hugo, but only if Victor Hugo did not appear onscreen, but in either event the film is lacking in budget and scope where a wider biopic of the woman’s life would’ve been more satisfying including showing her later years while inside a mental institution, which gets only glossed over here.

As in most cases what occurred behind-the-scenes while the film was being made is sometimes more interesting that what happened in front of the camera and this production proved to be no exception as the cast and crew went through many of the same scenarios as the characters. Truffaut tried to start up a relationship with Adjani, but was rebuffed and then she turned around and had an affair with the actor who plays the character that rebuffs her character in the movie. This caused Truffaut great jealousy as he was forced to deal with the two’s affair from afar much like Adele had to do in the story when Pinson eventually marries someone else. Truffaut later described making this movie and dealing with his unrequited love for Adjani as a ‘daily suffering’.

My Rating: 7 out of 10

Released: October 8, 1975

Runtime: 1 Hour 50 Minutes

Rated PG

Director: Francois Truffaut

Studio: United Artists

Available: DVD, Blu-ray, Amazon Video

City on Fire (1979)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Title says it all.

When Herman Stover (Jonathan Welsh) gets fired from his job at an oil refinery he decides to get his revenge by opening the valves on the storage vats, which sends gasoline spewing out into the water system that soon sets the entire city on fire. Dr. Frank Whitman (Barry Newman) realizes that his hospital is in line of the approaching blaze and tries desperately to get the place evacuated.

Despite the American cast the film was financed by a Canadian production company and filmed on-location in Montreal with a few shots done in Toronto. While the movie bombed at the box office and later got mocked in an episode of ‘Mystery Science Theater 3000’ it’s actually decent on the special effects end.

In fact I found the effects to be quite impressive particularly at the beginning where two firefighters find themselves trapped in an apartment building in an actual blaze where the flames literally leap towards the camera and make the viewer feel like they are being engulfed by it. Most movies will show people set on fire, but only while wearing a protective body suit, but this one has them set ablaze while wearing regular clothes and with flames not only shooting out from their clothing, but their hair as well, which looked dangerous to film. It also graphically captures the charred burned skin of the victims.

The eclectic cast of old Hollywood veterans is fun for the most part with Ava Gardner hamming it up as an alcoholic newswoman trying to cover the disaster. It’s also nice seeing Shelley Winters playing a ‘normal’ person for once instead of a kooky, eccentric and she does it so well that she ends up not standing out at all, which never happens in any of her other movies.

Watching Susan Clark play a wealthy socialite who suddenly becomes a Florence Nightingale incarnate after the victims start piling up is too much of a dramatic arch and the film should’ve just had her as a regular nurse from the start. The part though where she helps with a delivery at least has the baby coming out of the womb with an umbilical cord as too many other movie births never show this.

Outside of the effects there’s little else to recommend. The scenes dealing with the culprit, played by Welsh, are dumb. For one thing he doesn’t seem unhinged enough to do what he does and in fact comes off as quite bland and even tries helping the victims later on. Also, when an employee gets fired they are usually escorted out of the building by security especially in a refinery and not allowed to just run around the facility freely and unmonitored like here.

It would’ve worked better had the number of characters been cut down to just a few and the story focused solely on their efforts to survive instead of coming off more like a news report trying to capture the chaos as a whole.  The idea of mixing pyrotechnic special effects with a lame storyline and hallow characters doesn’t work and becomes just a poor excuse for a movie.

My Rating: 3 out of 10

Released: August 29, 1979

Runtime: 1 Hour 46 Minutes

Rated R

Director: Alvin Rakoff

Studio: AVCO Embassy Pictures

Available: DVD, Blu-ray

Murder Elite (1985)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Sisters feud over estate.

The story centers on Diane (Ali MacGraw) who moves in with her sister Margaret (Billie Whitelaw) at the family’s estate in England. Diane has frittered away her inheritance while living in America and now comes to Margaret in a near penniless state. Margaret expects Diane to ‘earn-her-keep’, but Diane resists doing any farm work and instead schemes at how to take control of the family’s fortune while having a fling with one of the farmhands named Ron (Ray Lonnen). She realizes that if Margaret dies then the estate will go to her, so she convinces Ron to kill Margaret when she goes out for one of her late night walks and then blame the death on a mysterious lady killer who has been terrorizing the countryside. However, things don’t go as planned as Diane and Ron soon find themselves being the ones in danger.

The film works as a weird hybrid between a slasher flick and an old-fashioned Agatha Christie-like mystery. The only interesting element is MacGraw’s presence who seems completely out-of-place in the English setting. This could easily be described as her career swan song as she never starred in another theatrical film after this one. In fact she only did four more movies, two of them being TV ones, and no film appearances at all since 1997. Usually when someone’s acting career has nosedived they turn to overseas projects, which is exactly what this was as she hadn’t had a hit movie in 13 years and was well over 40, so in many ways she had no choice, but to take it.

It might’ve worked had she had genuine acting talent, but it becomes painfully clear in her scenes with Whitelaw that she’s being seriously upstaged by a far more superior actress. Casting MacGraw as antagonist doesn’t gel as she’s unable to convey the necessary evilness. As sisters the two look nothing alike and Whitelaw is supposed to be ‘way older’ than MacGraw, but in reality they look practically the same age. During the early ‘70s Ali had long hair that came down to her waist and it looked great, by the later part of the decade she had cut it real short and it was okay, but her she wears it shoulder-length, which isn’t sexy at all.

The plot is only mildly intriguing and all the action takes place on the drab estate, which quickly becomes dull visually. There are a few twists to keep it watchable, but the one that comes at the end, which reveals who the true killer is, is full of loopholes making this little known mystery excursion come-off as flat and pointless.

My Rating: 4 out of 10

Released: May 13, 1985

Runtime: 1 Hour 38 Minutes

Not Rated

Director: Claude Whatham

Studio: Tyburn Entertainment

Available: VHS 

Thriller: A Cruel Picture (1973)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: One-eyed mute’s revenge.

Frigga (Christine Lindberg) is a young woman in her early twenties still living at home with her father and unable to speak due to being raped by an old man at a young age, which has left her psychologically scarred. She attends therapy each week, but on one occasion she misses the bus and takes a ride from a stranger named Tony (Heinz Hopf). Tony takes her back to his place where he drugs her and then forces her to work for him as a prostitute. When she initially resists he gouges out one of her eyes with a knife. Feeling that she has no choice she eventually submits to his demands, but saves up the money she makes, so that one day she can escape from his clutches and use her funds to seek a very violent and ugly revenge on both him and all the others who were cruel to her.

In 1969 Borne Arne Vibenius, who had worked with Ingmar Bergman as an assistant director on Persona, tried his hand at directing his own film by doing the cute family comedy How Marie Hit Fredrik about a 10-year-old girl who runs away from home. The film unfortunately lost a lot of money and so Vibenius decided in an effort to recoup some of the lost funds that he would take the exact opposite route for his next project by going to the most exploitive extreme that he could, or in his words a ‘commercial-as-hell-crap-film’ which was the inspiration for this movie. However, for fear that it might ruin his reputation and stymie any future chances of making a more mainstream film he did it under a different name, Alex Fridolinski, and the actors had a clause in their contracts ensuring that they would never reveal who the real director was.

The film does successfully go to some of the most extremes imaginable which includes showing explicit hard core sex during the scenes where Frigga is shown getting it on with her customers. Apparently Vibenius used a married couple for this who went around Sweden doing live sex shows for money. Whether having the graphic sex was necessary is debatable, but it does, like with the turtle scene in Cannibal Holocaust gives the idea that there is ‘no limits’ here and if the director is willing to show this extreme what else might come next, which then gives the viewer an uneasy feeling, which I suppose if you’re doing a horror film that is the feeling to give out.

There is also a lot of extreme violence including a graphic, close-up shot of a knife cutting directly into a human eyeball, which was apparently done inside a hospital on a corpse of a teen girl who had committed suicide, which sounds ethically questionable. Yet it most assuredly will startle the viewer and some may vomit out their lunch as well.

On the cool side I loved seeing Frigga’s victims getting shot in slow-motion. Watching the blood smear all over their shirts and streams of the red stuff pouring out of their mouths has an almost poetic feel to it and clearly the film’s best moments.

There’s also a good gritty feel not usually seen in most other horror flicks. I liked the way Frigga is shown spending time learning how to shoot a gun, drive a car at high speeds and take self-defense training, so that she’ll be able to take on her enemies when the time comes instead of just showing her magically becoming this gun-toting, macho woman overnight.

The electronic music score is intense and the moody/atmospheric climactic showdown on a lonely road between Frigga and Tony is well crafted. Having Frigga not speak a single word actually gives her character a more entrenched image. Overall, the film is artsy and on the exploitative level it could be considered a trailblazer, but like its title states it’s a cruel picture that gets so excessive it leaves you cold and emotionally drained when it’s over.

My Rating: 6 out of 10

Released: May 7, 1973

Runtime: 1 Hour 47 Minutes (Complete, uncut version)

Not Rated

Director: Bo Arne Vibenius

Studio: BAV Film

Available: DVD

The Pyx (1973)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Religious cult wants prostitute.

A woman is seen falling from a high-rise tenant building to her death and Police Sergeant Jim Henderson (Christopher Plummer) is assigned to the case. When he inspects the body he finds that in her right hand she is holding a crucifix and in her left one is a small metal container known as a pyx. The victim is later identified as being Elizabeth Lucy (Karen Black) a heroin addict who works as a prostitute. The film then cuts back and forth between showing Elizabeth when she was still alive and the circumstances that lead to her death as well as Jim’s dogged search to find her killer, which may be connected to an underground religious cult.

The film, which is based on the novel of the same title by John Buell and shot entirely on-location in Montreal, has a nice eerie atmosphere.  The cutting back and forth between the two linear stories is interesting and this is the type of mystery that is complex, but not too much. There are just enough clues given to keep it intriguing without so much thrown in that it becomes convoluted. The slow pacing is okay because it keeps things on a realistic level and everything remains plausible and gritty.

Unfortunately the story has no payoff. The slow reveal of the religious cult offers nothing new or exciting and seems to be borrowing elements from other horror flicks that have dealt with the same theme. Except for a few brief moments the film is devoid of any action and the shootout on a yacht is edited in such a quick way that it’s hard to follow what happened. The overuse of nighttime shots gives the film a grainy appearance that looks more like it was a victim of a low budget and poor lighting.

The two leads give good performances and Plummer looks almost unrecognizable with a bowl haircut and appearing almost 20 years younger than he already was. The music was composed by Harry Freedman and star Black does the vocals, which is distinctive and gets the viewer into a spiritual mood, but there aren’t any frights and it’s hard to put this thing into any type of category as it’s really not a horror film at all.

Even as a standard mystery it’s only average and just enough to hold your interest. Ultimately it goes down a familiar path that we’ve seen too many times before and is devoid of any true shock or surprises.

My Rating: 5 out of 10

Released: September 13, 1973

Runtime: 1 Hour 47 Minutes

Rated R

Director: Harvey Hart

Studio: Cinerama Releasing Corporation

Available: DVD-R, Amazon Video

Rituals (1977)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Nightmare in the woods.

Five middle-aged doctors (Hal Holbrook, Lawrence Dane, Robin Gammell, Ken James, Gary Reineke) take a trip into the Canadian wilderness in what they hope will be a fun weekend retreat, but soon bizarre things begin to occur including having all of their hiking boots stolen from them in the middle-of-the-night. It eventually becomes clear that they are being stalked by an unforeseen adversary who’s intent on playing mind games with them while slowly picking them off one-by-one.

This was Canada’s answer to Deliverance and while great effort was made to lift it above the usual mindless slasher film level it still doesn’t work and remains flat and predictable all the way through. One of the things that I really liked about Deliverance was that it was filmed on-location in the Georgia backwoods and this film takes the same approach by being shot in the dense forests of northern Ontario, but the result isn’t as satisfying. In Deliverance the location becomes like a third character while here it amounts to being just a backdrop.

The film has too much of a creepy musical score that makes it clear that it wants to mold it into a horror film and only helps to give it a formulaic feel. Deliverance was never mechanical and instead came off more like a drama that suddenly turns ugly without warning, much like life sometimes, while this thing seems more staged and rehearsed.

The cast is top-notch and puts great effort into their roles and the rigorous requirements of doing all of their own stunts. Yet the result is shallow as there’s no distinction between the characters who come off as stereotypically jaded middle-aged businessmen. Watching their personalities unravel as the grueling journey proceeds isn’t riveting since they seemed broken from the beginning and the viewer doesn’t care if any of them survive it or not.

The tension is minimal and the nemesis never gets revealed until the very end. At points I felt that having a bad-guy wasn’t needed and the story could’ve been stronger had it focused around the men getting lost in the woods through no one’s fault but their own and then their ultimate struggle with the elements. The mountain man (Michael Zenon) is much too crafty anyways and pulls off things that no normal person could making the culprit seem like a mysterious enigma that transcends the bounds of reality and makes the film too unbelievable to take seriously.

My Rating: 2 out of 10

Released: July 21, 1977

Runtime: 1 Hour 40 Minutes

Rated R

Director: Peter Carter

Studio: Canart Films

Available: None at this time.

Curtains (1983)

By Richard Winters

My Rating: 1 out of 10

4-Word Review A very deadly audition.

Well-known movie director Jonathan Stryker (John Vernon) is producing a new film and aging actress Samantha Sherwood (Samantha Eggar) presumes she’ll get the starring role like with all of his other productions, but this time Stryker has a catch. He tells her that to prepare for the part she must commit herself to a mental institution to better understand the character she is to play. The desperate Samantha agrees, but then realizes Jonathan has no intention of getting her out once she is inside, so she escapes and seeks revenge at Jonathan’s secluded wintertime mansion where he is auditioning six younger actresses for the role. Now suddenly everyone starts dying off at the bloody hands of a masked assailant. Is the killer Samantha in disguise, or could it be one of the other actresses willing to kill in order to get the part?

The film starts out okay. I liked that we are shown a brief background to these actresses before they get to the mansion, which helps make them seem more like real people and less like caricatures. The mansion where the action takes place has an interesting exterior/interior and I loved the pristine winter time landscape, but that is pretty much where the good points end.

The narrative is horribly disjointed and most likely a result of a lot of rewrites and reshoots that had the production shelved for up to three years before it was finally released. The opening sequence done inside the asylum is clichéd to the extreme and makes the film come off as a complete campfeast. The idea that someone would intentional try to get themselves committed simply to get a movie role is stupid and overall there are no scares or frights at all.

The killings are mechanical and unimaginative. I couldn’t understand how this killer was able to sneak up on people and literally magically appear at the most in opportune times. For instance a victim, played by Lesleh Donaldson, manages to escape the clutches of the bad guy and proceeds to make more distance between her and him by running through a snow capped forest. She briefly stops to catch her breath by a random tree and wouldn’t you know that’s the one tree that the killer is hiding behind.  Another segment has a victim (Anne Ditchburn) dancing by herself in a big empty room where the killer somehow sneaks up right behind her, which I would argue couldn’t happen. Everyone has a sense when someone else starts getting too close to them, especially in a room devoid of anyone else, and she would’ve detected the killer’s presence long before he got right behind her.

The ending in which the killer chases the final victim through an array of old stage props inside the mansion’s basement gets overly prolonged. The young women end up looking too much alike, so it was hard to have any empathy for them because they weren’t distinctive enough and the story would’ve worked better had it taken the concept of Dead of Winter where just one woman goes to the isolated place for the audition and thus allow the viewer to create more of a connection to the protagonist.

The only bright spot is Eggar. Her starring movie roles from the ‘60s and early ‘70s were now long gone and much like the actress she portrays was forced to take cheap low budget horror offers to remain busy, but she still gives it a 110% effort. What impressed me was how different her character was from any of her others. In those earlier films she was mainly a young, sensitive and idealistic woman, but here she is cold, conniving and bitter proving that she must be a great actress if she is able to play such opposite personalities in the same convincing way. It’s just unfortunate that the filmmakers didn’t share that same type of professionalism as the sloppy execution destroys any potential that it may have had.

My Rating: 1 out of 10

Released: March 4, 1983

Runtime: 1 Hour 29 Minutes

Rated R

Director: Robert Guza Jr.

Studio: Norstar Releasing

Available: DVD, Blu-ray, Amazon Video

The Internecine Project (1974)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Killing off his enemies.

Robert Elliot (James Coburn) is a former spy whose been given an offer as government advisor, but he must get rid of four people (Ian Hendry, Michael Jayston, Harry Andrews, Christiane Krueger) who hold secrets to his past before he can accept the position. To accomplish this he comes up with an ingenious plan, which consists of tricking these four to kill each other off all on the same night at around the same time while Robert sits comfortably at home and tracks their progress.

This is the type of intricate plot  that usually works best as a novel, but director Ken Hughes has things pretty well thought out. The first half isn’t too gripping, but once Robert’s scheme gets going it becomes quite intriguing. The plan certainly does border on being over-the-top and too dependent on the participants doing everything exactly as their instructed in order for it to be successful, but overall I felt it could’ve been possible, which is the main ingredient that makes it work as it manages to remain delicately within the realm of believability.

The supporting cast play their parts to the hilt complete with nervous ticks and flawed personalities, which helps add a fun dimension. Although clearly done on a modest budget the camera work and set design are creatively handled including one unique scene where the victim gets strangled by her killer through a shower curtain.

I also liked how one of the killers played by Christiane Kruger requires her instructions, which are given to her verbally by Coburn, to be repeated and written down as she is afraid she might forget them otherwise. I would respond in the exact same way even though most other movies in this genre will have the instructions spoken very quickly and only once, which would always make me wonder how they’re able to keep it all straight.

The only downside is the twist ending that seems like it was thrown in as a cutesy way to the end the film without much thought put into it. A really good twist should have some foreshadowing earlier that doesn’t seem all that important at the time and then when it’s all over allow the viewer to think back and go ‘A-ha, I should’ve seen that coming!’, but that’s not the case here.

If anything I would’ve had Lee Grant’s character more instrumental to the outcome as I could see no other purpose for her presence otherwise. I spent the whole film wondering why she was even in the movie and when it was over I was still asking that same question. She’s a beautiful lady, but her role is unfocused. One minute she’s feisty feminist and then the next she’s an emotionally needy wreck. She plays it well, but her efforts do nothing to propel the plot.

My Rating: 6 out of 10

Released: July 24, 1974

Runtime: 1 Hour 29 Minutes

Rated PG

Director: Ken Hughes

Studio: Allied Artists Pictures

Available: DVD, Blu-ray, Amazon Video

The Lady Vanishes (1979)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Where’s the old lady?

In 1939 while traveling by train from Bavaria to Switzerland American Heiress Amanda (Cybill Shepherd) befriends an English nanny named Miss Froy (Angela Lansbury). The two sit across from each other inside a train compartment. When Amanda awakens from a nap she notices that Miss Froy has disappeared and when she asks others where she went to everybody denies having even seen her. Amanda starts to question her own sanity and tries to use the assistance of American photographer Robert Condon (Elliot Gould) to help her figure out what is going on.

This film is a remake of the classic 1938 movie of the same name, which was directed by Alfred Hitchcock and based on the novel ‘The Wheel Spins’ by Ethel Lina White. I last saw the original over 30 years ago while attending college, so my memories of it are fuzzy and I’ll be unable to compare the two. However, I do remember enjoying it and feeling that this thing doesn’t quite reach the same level.

The biggest issue is the casting of Shepherd. I think she’s a gorgeous lady, I loved seeing her in the low cut white dress and at one point she even appears to bravely do her stunts by jumping off a moving train, but her acting is not up to par. She can be great as a bitchy, sarcastic woman or even as a kooky eccentric, but as someone we want to root for or sympathize with, no way. Some of her former co-stars including Bruce Willis and Christine Baranski have described her as being cold and competitive to deal with and that’s the exactly same vibe I get every time I see her. Her efforts to cover that up in an attempt to play a more likable character doesn’t work, so instead producers should cast her in parts that mesh with her personality while getting someone else more affable for this role.

Gould has the same problem. He looks bored and out-of-place and I don’t know why the nationalities of the two lead characters, which had been British in the original, were changed to American here, but it doesn’t help. Besides there is absolutely no chemistry between he and Shepherd, which makes the romantic angle come off as quite forced. He was also considerably older than her and they should’ve at the very least cast two people more in the same age range.

Even the great Angela Lansbury is all wrong here. She still gives the role a stellar performance with her best moment coming when her eyes well up with tears as the other passengers openly contemplate throwing her off the train and into the clutches of an SS officer standing outside, which proves that the truly great stars don’t need any speaking lines to convey just the right emotion.  However, she was only in her 50’s at the time and didn’t come off looking elderly. Dame May Whitty played the part in the original and was in her 70’s, which is what the age of the actress playing the part here should’ve been.

The basic premise is still entertaining enough to keep things passable, but I would’ve liked the mystery angle played up more by showing things only from Amanda’s perspective until the viewer started to question her sanity as well. The scene where Amanda sees the name Miss Froy written in the dust of a train window by the Lansbury character earlier and then having that name strangely disappear off the window after they go through a tunnel makes no sense. This was supposed to be a ‘realistic’ thriller and therefore surreal elements should not have been thrown in.

The climactic sequence is entertaining, Arthur Lowe is enjoyable in a supporting part, and the Austrian scenery is luscious, but the movie is marginal and only helps to make the viewer appreciate the original more than anything.

My Rating: 4 out of 10

Released: May 8, 1979

Runtime: 1 Hour 35 Minutes

Rated PG

Director: Anthony Page

Studio: Rank Film Distributors

Available: DVD, Amazon Video