The Fiend

The Fiend, a 1972 British horror film directed by Robert Hartford-Davis, is a gruesome and grisly affair that embraces the sexploitation vibes of the early '70s. With a backdrop of religious fanaticism, this flick tries to shock and awe with its blend of murder, manipulation, and moral mayhem. But does it succeed? Well, let's just say it's a hell of a ride, even if it's not exactly a holy roller.

Kicking things off with a bang, The Fiend quickly devolves into a tedious trudge through tiresome encounters and dull supporting characters. It's like a TV movie that randomly cuts to scenes of violence and nudity to keep viewers awake. The story meanders and struggles to find its footing, but the cast does their damnedest to keep things afloat. Ann Todd and Patrick Magee bring their A-game to this B-movie, even as the odds are stacked against them. The real stars, though, might just be the itchy police uniforms and hip threads worn by the younger cast-a fun, fibrous fashion show amidst the fiendish festivities.

The film's technical aspects are a mixed bag. The AVC-encoded image is a blessing, offering a detailed view of the set decoration, from the Brethren church to the characters' homes. You can practically feel the fabric of the costumes and see the evil in every macabre murder. But the direction is as flat as week-old soda, lacking the fizz needed to make this a true cult classic. The film feels disjointed, with ugly, staccato close-ups that disrupt the flow.

The Fiend is like a rollercoaster with a rickety start, a few thrilling peaks, and an underwhelming conclusion. It's not a film that will haunt your dreams, but it might keep you entertained on a gloomy night. With a runtime of 98 minutes (or 87 if you watch the edited version), it's a commitment that could've benefited from a tighter script. Overall, it's a gory good time that falls just short of greatness, earning a respectable 5 out of 10 rating.

So, if you're in the mood for a blast from the past that's bloody, bizarre, and a bit of a bumpy ride, give The Fiend a go. Just don't expect to be converted to its cult following.

Having recently bought a copy of the 2010 release of this lost gem, finally available fully uncut and beautifully presented in anamorphic widescreen 1.78:1 - Odeon Entertainmant ODNF162 - I can't recommend it enough. Taking into consideration the very strict censorship laws and general climate the time of it's production, it's easy to see why it was butchered and suppressed at the time of it's initial release in 1972, the Mary Whitehouse brigade would have soiled themselves collectively at the subject matter alone. And the murder scenes, whilst fairly tame compared to some in todays more enlightened times, were way out there for early 70's Britain.

It's not the most polished of films, but the directing is pretty good and the acting pretty solid throughout - with a convincing enough ratio of ham, menace and believability - with the script and storyline excellent. Overall the results, particularly when taking the fairly small budget into consideration, really are very, very good indeed. Which is why I honestly think this film was years ahead of it's time.

An essential addition to any Brit Horror collection - it's a proto-slasher of sorts, imo - and also to anyone with an interest in looking at the darker and less positive sides of religion and it's very strong tendencies towards brainwashing, mind control and even abuse. I'd also recommend it to anyone who just loves a good well made and sincere film, however if you're just a cannibals & zombies or shoot 'em ups only freak, don't bother, it's definitely not for you.

One should always be wary, and perhaps even slightly skeptical, when it comes to previously unknown horror movies that suddenly emerge out of nowhere on fancy and marvelously restored BluRay editions. I never heard about "Beware My Brethren" (aka "The Fiend") before, and sadly too often this means it used to be obscure for a good reason and probably not worth discovering. However, the recent "88 Films" release looks so amazing and so irresistible for fans of (British) (s)exploitation horror of the 70s that I simply had to purchase it, and I also immediately know that I was going to like it a lot more than I probably should.

In all honesty, it certainly isn't a great movie. It's quite flawed, in fact, and I fully acknowledge the more negative reviews around here, but - in my defense - I was really in need of a brutally violent and sleazy horror, and the restoration of picture & sound is awesome! My apologies in advance, as this won't be a very objective review.

"Beware my Brethren" fits into several categories. It's a stalk-and-slash flick with a sexually repressed killer, inspired by milestones like "Psycho" and "Peeping Tom", but it is also a raw "fanatic religious nut" exploitation flick because of all the slaughtering in God's name and the numerous speeches urging to "repent ye Sinners!". And perhaps, most of all, it's one of those barbarically straightforward early 70s movies that want to state clear the "swinging 60s" are forever over and done with! You can't trust handsome strangers anymore, and skimpy outfits and "free love" will get you killed!

Briefly summarized, Kenny and his beloved mother Birdy are members of a secluded but extremely strict Catholic community called "The Brethren". Birdy attends all the lead Minister's speeches, but Kenny prefers to go out and butcher lovely young ladies who - according to him - dress and behave too indecent. Birdy's nurse-at-home suspects the Brethren is a dangerous cult, and persuades her journalist sister to go undercover and collect evidence.

The poor elaboration of the script and the lack of focused direction are by far the main weaknesses of "Beware My Brethren". During two scenes there seems to be a police inspector working on the cases of the murdered girls, but then he just disappears even though the bodies continue to pile up. The private search of the beautiful sisters Brigitte (Madeleine Hinde) and Paddy (Suzanna Leigh) also remains underdeveloped. Paddy's snooping around in the Brethren's chapel easily could have resulted in a couple of suspenseful scenes, but alas. Instead, Robert Hartford-Davis stuffs his movie with loud & endless preaching and full-length gospel songs. I confess I love the gospel songs, but I also love constructive plot and tension building.

Of course, I know and understand why Hartford-Davis made these choices. The Minister is a role of Patrick Magee, and a year before he just starred in the immensely popular "A Clockwork Orange". The girl who does the cherubic singing - Maxine Berrie - is the winner of TV-talent shows. The film could advertise with these names and thus they received prominent screentime. I'm already glad Hartford-Davis didn't cut back on the amount of vicious gore and gratuitous nudity.

Beware My Brethren (1971): An English fundamentalist church has a small but committed (they should be) congregation. They listen to tapes from their Leader in Arizona. Crazed scenes as they respond to Preacher Patrick Magee who puts in a worthy performance. Amazing how many low budget horror features he starred in along with Pinter and Beckett plays, exploitation movies paying the rent I guess. Anyway one of his flock, Tony Beckley is a few psalms short of a psalter and has become a serial killer. A demented portrayal , not just as he gruesomely dispatches his victims but also as he simultaneously listens to tapes of their pleadings along with his Leader's rants. Some really good editing as the action cuts between a full immersion baptism and the drowning of one of those murdered by Beckley. Production values suffer from a limited budget but it;s certainly worth watching. Directed by Robert Hartford-Davis, written by Brian Comport. On Legend Channel. 6.5/10.

A truly dreadful film, seen during the night on BBC2, but glad I saw it! A fairly comprehensive anti-religion film... anyone who comes into contact with it becomes maniacs! Superb! Notable for yet another Patrick Magee scenery-chewing exercise, a host of unknown actors who remained unknown, and a truly jaw dropping series of appalling songs, sung by the "Shirley Bassey" Stars in their Eyes winner, Maxine Barrie (in her younger days!). Poor dear had to wait over 20 years for public recognition. If I were her, I'd buy all the prints and burn them! Definitely a B-movie for showing in a double bill with some cheapo Hammer concoction, but unintentionally funny in places.