ÉVALUATION IMDb
6,0/10
2,3 k
MA NOTE
Un malade mental suicidaire, The Sender (Zeljko Ivanek) transforme ses terribles cauchemars en réalité en choisissant des récepteurs pour ses pensées démentes à l'hôpital du coin.Un malade mental suicidaire, The Sender (Zeljko Ivanek) transforme ses terribles cauchemars en réalité en choisissant des récepteurs pour ses pensées démentes à l'hôpital du coin.Un malade mental suicidaire, The Sender (Zeljko Ivanek) transforme ses terribles cauchemars en réalité en choisissant des récepteurs pour ses pensées démentes à l'hôpital du coin.
- Prix
- 1 nomination
Marsha A. Hunt
- Nurse Jo
- (as Marsha Hunt)
Histoire
Le saviez-vous
- AnecdotesThe film's director Roger Christian has said of this movie in an interview: ''This was the beginning of my career as a director, and it was a real battle with the producer and the studios who were dumping it. They were hiding it and I was fighting...It came off the back of, first, Black Angel (1980) in particular got me a Hollywood agent, and a very good one, different from most of them. I was more interested in pursuing [Andrei] Tarkovsky [Andrei Tarkovsky]'s kind of way of filmmaking where I was making the film for the subconscious rather the conscious. I thought I'd better do something else, so I made The Dollar Bottom (1981)...That won the Academy Award, so that got me The Sender, and it was with Fox, 20th Century Fox, and then right when we were well into it, almost into production, they turned around and cancelled, and Paramount Pictures picked it up in three days, and we went straight ahead. But it's one of these films, I found out, as I said, Paramount were completely not interested in it, they really did nothing with it at the time, which was a shame... it was a very, very good script, and I got a really good cast of actors to do it, and it was a baptism by fire for me, with the producer and the studios and everything...''.
- ConnexionsFeatured in Siskel & Ebert & the Movies: Hidden Horror (1988)
Commentaire en vedette
My review was written in October 1982 after a Columbus Circle screening in NY.
"The Sender" is a superbly-crafted modern horror picture, credibly using telepathic communication as its premise, for creating nightmarish situations. Boasting spectacular, realistic special physical effects by Nick Allder, the Edward S. Feldman production is certain to engross and frighten terror-film fans and stands a chance to break out into general audience acceptance, along the lines of "The Omen".
Thomas Baum's screenplay, unfolding with almost no subplots or distractions, concerns a suicidal young amnesiac (Zeljko Ivanek) picked up by the police after attempting to drown himself in a lake near the fictional town of Corinth, Georgia. Taken to a psychiatrist clinic, he establishes a telepathic link with the [psychiatrist Gail Farmer (Kathryn Harrold), causing her to experience involuntarily his violent nightmares.
The "sender" cannot control his telepathic powers, and when Dr. Denham (Paul Freeman), Farmer's superior, subjects him to shock treatment and surgical experiments, he sends telepathic images of horror which disrupt the entire hospital. Farmer, who is visited by the sender's mysterious mother Jerolyn (Shirley Knight), tries to cure him by tracing back to what caused his nightmares and telepathic outbursts, with Jerolyn the link to a solution.
Roger Christian in his debut as a feature director marshals the material into a very serious, portentous film, punctuated at irregular intervals by shocking and graphic special effects set-pieces. The basic gimmick of telepathy plays well, since on-screen it amounts to hallucinations. By stressing low-key, underplayed performances by his lead actors. Christian scrupulously avoids the potentially risible moments which have caused many major horror films to lose the audience's involvement.
One problem with "The Sender" is that its trim, no-nonsense approach is a limitation as well as an asset. Various religious angles ad =vanced in the opening are downplayed, as well as the "Shock Corridor" group of fellow patients. Even lead doctors Farmer and Fenman have no relationships or characteristics apart from their contact with the sender. This streamlined, basically "safe" approach denies the film the mythic or romantic potential present in its supernatural predecessors.
Cast is good within script limitations, as Harrold represents an attractive, sympathetic heroine and Ivanek is a mesmerizing, troubled youngster in contrast to his overt loonie debut as the hitchhiker in "Tex". Acting honors go to Knight as the mother who is not what she appears to be, creating a chilling, spooky presence with a minimum of fuss. Technical credits all support the realism established by Nick Allder's effects outbursts, which were executed on the set rather than via post-production opticals or animation. Dynamic use of sound, plus Trevor Jones's ethereal score, drives home the scares.
"The Sender" is a superbly-crafted modern horror picture, credibly using telepathic communication as its premise, for creating nightmarish situations. Boasting spectacular, realistic special physical effects by Nick Allder, the Edward S. Feldman production is certain to engross and frighten terror-film fans and stands a chance to break out into general audience acceptance, along the lines of "The Omen".
Thomas Baum's screenplay, unfolding with almost no subplots or distractions, concerns a suicidal young amnesiac (Zeljko Ivanek) picked up by the police after attempting to drown himself in a lake near the fictional town of Corinth, Georgia. Taken to a psychiatrist clinic, he establishes a telepathic link with the [psychiatrist Gail Farmer (Kathryn Harrold), causing her to experience involuntarily his violent nightmares.
The "sender" cannot control his telepathic powers, and when Dr. Denham (Paul Freeman), Farmer's superior, subjects him to shock treatment and surgical experiments, he sends telepathic images of horror which disrupt the entire hospital. Farmer, who is visited by the sender's mysterious mother Jerolyn (Shirley Knight), tries to cure him by tracing back to what caused his nightmares and telepathic outbursts, with Jerolyn the link to a solution.
Roger Christian in his debut as a feature director marshals the material into a very serious, portentous film, punctuated at irregular intervals by shocking and graphic special effects set-pieces. The basic gimmick of telepathy plays well, since on-screen it amounts to hallucinations. By stressing low-key, underplayed performances by his lead actors. Christian scrupulously avoids the potentially risible moments which have caused many major horror films to lose the audience's involvement.
One problem with "The Sender" is that its trim, no-nonsense approach is a limitation as well as an asset. Various religious angles ad =vanced in the opening are downplayed, as well as the "Shock Corridor" group of fellow patients. Even lead doctors Farmer and Fenman have no relationships or characteristics apart from their contact with the sender. This streamlined, basically "safe" approach denies the film the mythic or romantic potential present in its supernatural predecessors.
Cast is good within script limitations, as Harrold represents an attractive, sympathetic heroine and Ivanek is a mesmerizing, troubled youngster in contrast to his overt loonie debut as the hitchhiker in "Tex". Acting honors go to Knight as the mother who is not what she appears to be, creating a chilling, spooky presence with a minimum of fuss. Technical credits all support the realism established by Nick Allder's effects outbursts, which were executed on the set rather than via post-production opticals or animation. Dynamic use of sound, plus Trevor Jones's ethereal score, drives home the scares.
- lor_
- 19 janv. 2023
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Détails
Box-office
- Brut – États-Unis et Canada
- 1 054 328 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 434 884 $ US
- 24 oct. 1982
- Brut – à l'échelle mondiale
- 1 054 328 $ US
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