Anna Palk | Scott's Film Reviews-1,528 Reviews posted!!! RECENTLY LAUNCHED-MY TOP 250 FAVORITE FILMS AND TOP 40 HORROR FILMS!!!

The Nightcomers-1972

Director Michael Winner

Starring Marlon Brando, Stephanie Beacham

Scott’s Review #1,080

Reviewed November 11, 2020

Grade: B-

The Nightcomers (1972) is a disappointing prequel to Henry James’ 1898 novella The Turn of the Screw, which had already been adapted into the 1961 film The Innocents.

The dreadful title is neither catchy nor specific to the film. The lackluster and unmemorable result is jarring, given the masterpiece that is The Innocents.

It’s unclear whether the intention was to build on the film or to base it directly on the novella, forgetting The Innocents.

It’s not worth the effort to ruminate over the answer.

The most interesting comparison is that the film was released the same year as The Godfather (1972), in which the iconic role of Vito Corleone, the mafia head of household, and arguably the best role of Marlon Brando’s career, was created.

Mirrored against his role as a bizarre gardener named Peter Quint, with a broken Irish accent, one can guess why one role is memorable and why the other isn’t.

Flora (Verna Harvey) and Miles (Christopher Ellis) are recently orphaned children living in a vast English estate. Their absent guardian pays for the housekeeper, Mrs. Grose (Thora Hird), and governess, Miss Jessel (Stephanie Beacham), to keep things running smoothly.

Jessel and Peter embark on a torrid and sometimes abusive relationship that the children witness and emulate through play-acting. Flora and Miles suffer from isolation and must use their imaginations to make the best of their idle days.

Watching in sequence with The Innocents is not encouraged.

The Nightcomers is best served as a stand-alone product. The events and continuity are muddy and will confuse the most astute viewer.

Flora is much older than she is in The Innocents, even though the action takes place before those events. The characters being played by different actors doesn’t help.

Finally, The Nightcomers contains none of the ghostly mystique and spookiness that The Innocents does. So, it is advisable to put The Innocents out of mind.

Admittedly, events do come together in the final act, which is the best part of the film.

When two deaths occur simultaneously, they are both quite shocking and powerfully filmed. I felt more emotionally invested in the final ten-minute sequence than in the rest of the film.

Brando has one emotional scene worthy of his talents. Given the actor’s powerful chops, he can make any scene believable, but this is the cream of the crop material.

Stephanie Beacham is an okay casting choice, but I never felt the chemistry or connection between Jessel and Quint. Their relationship didn’t work for me.

Suspension of disbelief is required to get through a scene where a character drowns in what looks like two feet of water, making the scene lose some power.

Harvey and Ellis, as the children, are okay, but nothing spectacular. I am jaded, but I compare them again to The Innocents, and those actors are just better and more haunting, especially Miles.

The subject of mental illness and the distinction between reality and imagination is not explored in The Nightcomers.

The production is not a total dud, containing enough exterior elements of the plush and English landscape to please and make viewers feel they are in the country manor themselves.

The interior scenes are just as good. The children gallop through the enormous house to their heart’s delight, making the viewer feel like a kid along with them.

The sadomasochistic scenes between Peter and Miss Jessel are quite titillating and border on the X-rated. During the bedroom scenes, I nearly blushed from embarrassment. But, as erotic as they are, they also don’t do much to further the plot or add to the story.

They have a kinky sex life- so what?

There is also a weird suggestion of incest since Flora and Miles imitate what Quint and Jessel do; how far would they take it? The plot has good potential, but the film and direction aren’t executed well, and things don’t come together.

If you’ve never heard of The Innocents (1961), then The Nightcomers (1972) is recommended.

If viewing a cinematic masterpiece is desired, however, stick with the former and never look back.

Fahrenheit 451-1966

Director Francois Truffaut

Starring Oskar Werner, Julie Christie, Cyril Cusack

Scott’s Review #728

Reviewed February 26, 2018

Grade: B+

Based upon the famous and fantastic classic 1953 novel Fahrenheit 451 by Ray Bradbury, the film adaptation is futuristic and dystopian.

Directed by French filmmaker Francois Truffaut and starring Julie Christie, the “it” girl of the late 1960s, the film succeeds as an incredible, new wave, edgy, progressive hybrid. Various elements aid in making the film seem set in the future, all with hints of the great director Alfred Hitchcock sprinkled in the mix.

Indeed, the novel is superior, but Fahrenheit 451 is a worthy watch if only for Christie alone.

Christie plays a dual role as Clarisse, a young schoolteacher with progressive and forbidden views, and Linda, the vastly different spoiled wife of the central character, Guy Montag, played by German actor Oskar Werner.

The trio exists in a futuristic world where a totalitarian government has banned all literature, deeming it insufficient for society. A force called Firemen, where Guy works, can search anyone anytime and burn all books as needed.

Clarisse and Guy begin questioning the government’s motivations as Guy stashes a copy of Charles Dickens’s David Copperfield, which puts the pair in danger.

What I like most about the film is its mysterious and foreboding concept, which is downright scary. What if books were suddenly non-existent and forbidden?

Like the novel, the film references luscious and brilliant literary works of art, so much so that the viewer will undoubtedly feel how this reality would be devastating.

As with similar titles such as “1984” and “Brave New World,” the futuristic world and the “Big Brother is watching” theme is critical to its success.

Director Truffaut, an ardent fan of the master Hitchcock, seamlessly incorporates elements of suspense and key “Hitchcockian” moments, specifically with the musical score.

Truffaut used Bernard Hermann, the same composer Hitchcock used in 1966’s Torn Curtain, but more importantly, the prevalence of strings is reminiscent of classics like Psycho and Vertigo.

A fight scene behind frosted glass so that only shadows can be seen is a direct homage to Hitchcock’s famous style.

To accompany the Hitchcock comparisons, an exciting film anecdote is that legendary Hitchcock superstar Tippi Hedren was desired for the central dual role. Still, he would not allow it since she and Hitchcock were embroiled in a feud then, and she was under contract.

The possibilities this would have presented are endless. But alas, Christie is no slouch as the film’s female star.

Christie deserves significant kudos. She plays both characters to the hilt and is one of the film’s best aspects.

Anyone who has read Bradbury’s novel will understand how the character of Clarisse is expanded in the film. One wonders if this was done to showcase more of Christie.

Regardless, Clarisse and Linda’s characters are entirely different from each other, and the actress is superb. Unfortunately, this film is not among Christie’s most remembered films.

My main detraction of Fahrenheit 451, the film, is that having recently read the novel, there is no comparison, as the book is far superior. However, the film is perfect and contains some beautiful visuals and imagery.

So few times can a film usurp the beauties of the written word, and how ironic given the subject matter of the destruction of books.

Fahrenheit 451 (1966) is a stylistic, artistic film with a relaxed vibe. It features a tremendous performance from one of the ’60’s most considerable talents.

The film initially received fair to middling reviews and is now largely forgotten, but it’s nice to take down from the dusty old shelves of the Hollywood obscure now and then.