Had his been tagged “From the Makers of Vertigo”, it might have immediately attracted a greater immediate audience and been treated these days with more critical reverence. But Vertigo wasn’t the cult film it is now, so the names of the authors of the source book, Pierre Boileau and Thomas Narcejac, would have no promotional value.
Throw in a stunning score by Mikis Theodarakis (Zorba the Greek, 1964) and a top-line cast including Swedish bombshell Mai Zetterling (Only Two Can Play, 1962), cult character actor John Ireland (The Ceremony, 1963) and an early role for Nanette Newman (The Wrong Box, 1966) plus a gender switch on the traditional gaslighting plot and you have makings of a classy little number.
When an experiment goes wrong, ambitious arrogant businessman Richard Hammond (John Gregson) is blinded. To help him recuperate wife Christiane (Mai Zetterling) flies him off to their luxurious Cornwall retreat where, to ensure is mind isn’t overloaded with business concerns, she switches off the phone. Along for the ride are his sponging brother Max (John Ireland), business partner David (Michael Denison), housemaid Janet (Nanette Newman) and chauffeur Clem (Tony Wright).
When things are not what they seem – the cat has suddenly lost its tail, a peach plant has disappeared from the garden, he smells pine, hears church bells – he believes he is going insane. Doesn’t take long before he realizes this is not a haven, but a trap. Sounds providing the greatest clues, he hears a giveaway clicking, indicating the presence of David, in his wife’s bedroom when the partner is meant to be a hundred miles away.
His brother has also disappeared, believed dead, and when his wife gives the help the night off and he is left in the house with the lovers is convinced they are trying to poison him and refuses to eat any food. Given sounds are so important, there’s one brilliant scene, where, having escaped, he discovers none of the locals can understand what he’s saying, and not because he’s gabbling either. But that’s such a clever plot point, I wouldn’t be a spoiler.
So you’ve got tension fairly climbing the walls .
The only downside is that Richard is such an unlikeable character – not a poor soul like Audrey Hepburn in Wait until Dark (1967) – that it’s hard to summon up the sympathy an audience requires for such a story to properly work. Theoretically, he’s just a driven man, whose genius is being blocked by the cynical bankers, but from the outset he’s full of bluster and nasty put-downs, and has everyone in the factory he owns on edge.
Anger at his condition and fear that insanity or failure lies ahead puts him in a constant rage and, heavily sweating for no particular medical reason, he’s not the most charismatic of screen characters. Even though his reaction would fit with a successful businessman failing to come to terms with the calamity, those elements, which might have evoked greater sympathy, are somewhat adrift when they get tangled up with the plot.
Director David Eady (The Verdict, 1964) does his best to compensate. The music, as mentioned, helps, throbbing piano rather than screaming violins. And there a couple of neat visuals, the swirling smoke of the credit sequence reappearing to devastating effect in one sequence. But, mostly, he lines up reasons for Richard to begin to question his sanity and believe he is being duped – he can’t read documents he must sign and as the only part of his handwriting that stands up is his signature suspects his impoverished brother will write a larger sum on a cheque he signs.
And since most of this unfolds through the mind of Richard, the director plays fair with the audience. There are no nods and winks about the nature of the relationship between wife and partner. Even though she confides in David that she’s planning to leave Richard, there’s no indication that it’s for the partner.
So this is more like a detective story and, as with Vertigo, featuring an obsessive character driven mad by obsession, both led on by the devious, and having to piece together a strange amalgam of clues.
John Gregson (The Frightened City, 1961), normally essaying more stoical characters, overacts, but the others do the opposite. Mai Zetterling is convincing and former British matinee idol Michael Denison plays against type (he wouldn’t make another movie for 30 years). Nanette Newman shows promise while John Ireland reins in the surliness. Ephraim Kogan (in his sole movie credit) and John Tully (who didn’t get another movie credit for the decade) wrote the screenplay.
Effective thriller ripe for a remake.
Catch it on Amazon Prime or DVD.
The Magnificent 60s 