User reviews

... was the above-average British Hammer/Universal production PARANOIAC . This first directorial effort by famed cinematographer Freddie Francis is full of intensely creepy atmosphere, beautifully lit and shot in black and white CinemaScope.

Oliver Reed stars as a faded family's dissolute son trying to drive his sensitive sister insane so he'll inherit the entire fortune, but then a long-lost brother who supposedly had committed suicide years before suddenly shows up. It's a well-done blend of elements from PSYCHO with THE FALL OF THE HOUSE OF USHER and THE OLD DARK HOUSE, among others, maintaining an almost Hitchcockian sardonic undercurrent to the gothic thrills. PARANOIAC is a film that deserves to be better-known.

Fascinating film, an exercise in understated British acting. How did I miss this flick? In 1963 I used to go to movies a lot, and surely this film played the drive-in or "B" movie circuit. Howevr, this is a wannabe "A" movie. The story is convoluted, with lots of twists and unexpected turns. Never be sure of anything in Paranoiac. There are even a couple of genuine thrill jumps along the way to the conclusion. Acting is excellent and the music works well. Best of all, Paranoiac is shot in absolutely gorgeous black and white. Since the movie was released in 1963, Oliver Reed was slim and drop-dead handsome.

No one can make suspense thrillers like the Brits. Actually, Paranoiac reminded me of Bunny Lake Is Missing and Midnight Lace. It's now available in a Hammer studios presentation box of 8 films. Since Paranoiac was one of two films in the package I had not seen, ever, I watched it as soon as I opened the package. Heartily recommended.

Freddie Francis has built up an amazing career in cinematography earning multiple prizes and awards thanks to his excellent visual work in movies like "The Elephant Man" (1980) and "The Straight Story" (1999), but he also has a less known (but not less interesting) career as a director that started in 1962 when he co-directed "The Day of the Triffids". Later he would become a regular name in the horror genre, directing films for both Hammer and Amicus, the two most important horror film production companies of the 60s. "Paranoiac" was the first film he did for Hammer, and in many ways ranks as one of his best works.

"Paranoiac" is the tale of the Ashby family, a wealthy clan that has been struck by tragedy twice; first with the death of both parents and later with the suicide of the youngest member of the family, Tony Ashby. The remaining siblings, Simon (Oliver Reed) and Eleanor (Janette Scott) have grown under the care of their Aunt Harriet (Sheila Burrell), but both are emotionally (and psychologically) unstable as Simon is a drunk sociopath who enjoys torturing the weakened Eleanor, who lost the will to live after Tony's death. However, one day a man appears claiming to be Tony (Alexander Davion), and his appearance will shock the Asby's world to its core.

This obscure thriller about death and insanity may not be one of Hammer's best known films, but it's certainly one of the most interesting. Written by Hammer regular Jimmy Sangster (loosely based on Josephine Tey's novel Brat Farrar), the film explores the reactions of the Ashbys when Tony reappears, and it certainly honors its title as the film's theme of Paranoia surrounds every member of the Ashby family. Sangster builds up an interesting tale of mystery and suspense that gets benefited by a well-developed group of characters.

Director Freddie Francis once again excels with the cinematography (by Hammer regular Arthur Grant) of the film and gives the movie a style that mixes British melodrama with old school Gothic horror. The use of black and white (totally against Hammer style) enhances the feeling of paranoia and isolation that surrounds the Ashby family (Francis would return to this in his next film, "Nightmare"), and while it's not what one would expect from a Hammer film, it actually suits the movie better than color.

It's true that Jimmy Sangster's characters carry the film, but a lot of the credit should also go to those who performed them. Oliver Reed gives a tour-de-force performance as Simon, in a brutal, raw and realistic way that one wonders how much of the real Reed was there. Janette Scott gives an appropriate performance, although her over-the-top melodrama at times goes on too much. Alexander Davion is quite effective as the mysterious Tony, and Liliane Brousse adds the film the sensuality and glamor needed. Finally, Sheila Burrell completes the cast with an excellent performance as Aunt Harriet.

This low-key thriller is an excellent example that Hammer was more than Van Helsing and Frankenstein, and has withstood the test of time very well. Hammer fans may miss the typical "Hammer style" elements but the film manages to work very well without them and arguably, is better that way. It has a nice rhythm and pace for the tale, but at times it moves on too fast leaving the feeling that the film is quite short (it has in fact, a runtime of only 80 minutes). The melodrama of the film may turn off viewers expecting a scare-fest, but it gives the film a personality of its own and gives space for the characters to develop.

Francis' career as director may be uneven but "Paranoiac" is a solid thriller that still delivers the chills and along with the superior "Nightmare", is part of a less-known side of Hammer films that explored the horror genre away from Monsters and vampires. Fans of Gothic horror and mystery films will be definitely pleased with this two films. 8/10. Very Recommended.

The presence of a very young Oliver Reed alone should encourage fans of older films to view this one. Reed is very impressive as the spoiled rich kid who never fails to surprise us with what he will do to get his way. He is days away from a large inheritance when his deceased brother shows up at the front door. Nothing is quite what it seems. Is he an imposter or not? Is Reed's sister crazy or not? Does the family have something to hide or not? The ending is not really a surprise but still packs quite a jolt and is a suitable ending to a very fine and underrated film. Available on video.

The wealthy Ashby family grieves the tragedy of the death of the patriarch and matriarch Ashby in an airplane crash and their son Tony, who committed suicide, eleven years ago. Tony jumped off the cliff and his body was never found, only a suicide letter. Presently the dysfunctional Ashby family in composed by the alcoholic and reckless organist Simon Ashby (Oliver Reed); his unbalanced sister Eleanor (Janette Scott); and their overprotective aunt Harriet (Sheila Burrell) and their finances are managed by the accountant John Kossett (Maurice Denham), who tries to keep SImon under control. A couple of weeks before the due date for Simon receiving his inheritance, Tony Ashby (Alexander Davion) surprisingly appears for the joy of Eleanor, but Simon and Harriet believe he is an impostor despite his knowledge about the family.

"Paranoiac" is an intriguing and suspenseful film by Hammer, with great storyline and deceptive conclusion. The screenplay builds tension and mystery with the viewer questioning whether tony is who he says. But unfortunately the rushed and senseless conclusion disappoints. My vote is seven.

Title (Brazil): "Paranóico" ("Paranoiac")

Simon Ashby (Oliver Reed) is a psychopath who is trying to scare his sister (Janette Scott) to death to get her share of their inheritance. Then their brother Tony (Alexander Davion) who supposedly committed suicide years before shows up. Then things get strange...

Really odd film--very low key (for Hammer). For one thing it was shot in black and white, not the vivid color they usually used. Also there are no monsters here (unless you count Simon) and this is more of a thriller than a horror film. Still it works! It's beautifully directed by Freddie Francis and the plot itself has plenty of twists and turns to keep you off guard.

The acting is good. Reed especially is fantastic--his violent rages are frightening and you can always see the madness lurking underneath him. Scott and Davion are both good-looking (especially Davion) and as good as they can be...considering they're given nothing to do. This is no masterpiece but a quick (only 80 minutes) and efficient thriller which keeps you entertained and guessing. Recommended.

The film is about a dysfunctional English family who make the folks on the Jerry Springer show seem very normal in comparison! It seems that many years earlier, two rich parents were killed in a traffic accident--leaving their three children to be raised by a nutty aunt. However, only a few years later, one of the sons apparently kills himself--leaving a flaky and emotionally fragile daughter and a son who is a spoiled little monster. This spoiled monster is played by Oliver Reed and he looked like he was having fun with this vivid role--drinking, being emotionally unstable and being an all-around jerk! The sister, never the poster child for sound mental health, begins insisting that she's seen and heard the other brother--even though he is dead. When he actually turns up alive some time later, you are left wondering if this really is the dead brother or if it's a con man. Due to this return, however, Reed begins acting much more unstable and kooky--as this reappearance has apparently pushed him over the edge of sanity.

How all this is resolved will keep you guessing and the film is a lot of fun even though it isn't exactly subtle. And, when the mysteries are all unraveled, you probably will like the the nice twists and turns. In many ways, the movie seems inspired by films such as PSYCHO and PARANOIAC in turn seems to be, at least in part, the inspiration for future films like STRAIGHT-JACKET--all shrill but exciting suspense films.

I understand that Freddie Francis's "Paranoiac" is a loose adaptation of Josephine Tey's "Brat Farrar", of which I had never heard until now. It sounds as though Hammer tried to make a number of movies like "Psycho". This one isn't a bad attempt. It focuses on a man who arrives at an estate on the coast of Dorset, England, claiming to be a brother long thought dead, causing a bunch of family secrets to come out.

Oliver Reed's unctuous, irresponsible brother is the really intense character. He refuses to believe the newcomer and goes to great lengths to keep him out of the family. Reed's evil-looking face made him the perfect man for the role. A lot of the movie has the usual stuff that we see in these movies: screaming, eerie images, etc. I did like the cinematography showing the rocky English coast; the terrain looks as sinister as anything going on in the house. In the end "Paranoiac" isn't a great movie, but worth seeing, if only once.

I'm a big fan of Hammer Horror, and have seen a fair few of the films made by the studio. However, none of my previous viewings could prepare me for this film - it's absolutely nothing like the Hammer Horror we know! And luckily, that isn't a bad thing. Hammer are most famous for producing fun, colourful flicks - and this one is neither of those things. Shot in black and white, and without a slither of humour in sight; Paranoiac is an entirely serious horror-drama. It's a good one too, as Oliver Reed steps into the role of spoilt brat Simon Ashby brilliantly, and you can really believe his every motivation. The plot follows Simon and the rest of the Ashby family, which is thrown into disarray when Simon's long lost brother Tony turns up. Believed to have committed suicide eight years ago, Simon and his Aunt don't believe the man claiming to be Tony and think him to be an impostor. The only member of the family who does believe that it really is Tony is the sister, Eleanor, whom Simon has being trying to drive insane so that he can get his hands on the family fortune.

'Paranoiac' is a great title for this film, as it breathes a very paranoid atmosphere throughout. Oliver Reed's facial expressions and mannerisms help it to achieve this, and Paranoiac wouldn't be the film that it is had it not been for him starring in it. The beautiful Janette Scott stars alongside him, and makes up the rest of the central ensemble along with Alexander Davion and Sheila Burrell. The colours tend to be my favourite thing about most Hammer films, and thus I tend not to like the black and white ones as much. The lack of colour doesn't harm this film, however, as it makes up for it with a suburb atmosphere, much of which comes from the excellent black and white cinematography. The pace of the film can be a little slow at times, but it never becomes boring and Paranoiac always has enough up it's sleeve to compensate for it's less exciting moments. The plot has enough surprises entwined within it, and even though the film only has an eighty-minute running time - there's a lot of development, and the final twist is bound to catch you off guard. While this film isn't very well known - it is very good. I don't hesitate to call Paranoiac one of Hammer Horror's best little-known gems.

You've often seen suspense movies in which a sudden revelation reverses everything that's come before. (Vertigo, for example.) In Paranoiac -- one of a raft of Psycho-inspired suspense thrillers from the early 60s-- these reverses come along practically every minute. The plot twists and re-twists itself over and over: Oliver Reed's brother is dead; no, he's alive, his sister saw him; no, his sister is crazy; no, Reed is trying to to make people think his sister is crazy so he can steal her inheritance; no... and that's just the first 10 minutes or so of this ingenious thriller. Highly recommended.

I'd never seen this Hammer film before and I finally dug it out from my Universal Hammer Collection. What a pleasant surprise it was. It is so refreshing sometimes to see black and white photography at a time when Hammer was known for its colour, and that moody b&w style really compliments this disturbing tale of a family of oddballs and what happens when one of their clan who drowned himself as a boy returns. Oliver Reed drinks as much as he did in real life here (it ultimately killed Reed) and he's really excitingly over the top. A hidden gem in some ways, PARANOIAC is well-scripted by Jimmy Sangster, and nicely directed by Freddie Francis. The more I think about it, the underrated Francis was often better than Terence Fisher. *** out of ****

A nice, low-key b&w thriller from Hammer, not typical of their product. A decadent upper-crust British family is thrown upside-down by the arrival of a mysterious man claiming to be the younger brother who drowned himself at 15. Is he really? And who is playing the organ at night? Is the sister really insane? It's a crackling good story, a tale of jealousy and murder and inheritances and people not being who they truly are. Everyone has a secret in this story, and some are surprises.

The acting is good, especially from a young and handsome Oliver Reed who is more and more insane as the movie progresses. The crumbling house and chapel are great settings for the goings-on in the story. PARANOIAC is good Gothic suspense, great viewing on a cold gray Saturday afternoon.

Not really a horror film,(no monsters or gore), but a lot of creepiness and insanity. This movie has great sustained suspense that keeps you guessing what is real, which character is crazy, and which character is who they say they are. Future star Oliver Reed is very young and handsome, but hasn't learned to act very well yet, but he is entertainingly over-the-top. The whole thing is very well-done and a hell of a lot of fun to watch.

The shadow of LES DIABOLIQUES (1954) and PSYCHO (1960) always loomed large over much of Hammer's output set in contemporary times; this is a moderately well-done example of that subgenre with the usual driving-an-heiress-mad plot here given a boost by the return of a long-lost brother and a would-be last minute revelation that all is not well with hard-living brother Simon Ashby (a perfectly cast Oliver Reed in a showy role). For some odd reason, I could have sworn that this film was directed by Michael Carreras, so much so that I did a double-take when Freddie Francis' name (whose first directorial job for Hammer this was) appeared on the screen; as it turned out, I was confusing this film with the similarly-titled MANIAC (1963) - unsurprisingly, another Hammer thriller in the same mould!

Another of the films on the Hammer Horror Collection dvd. Alexander Davion is Tony Ashby, who comes back to visit, after committing suicide years before. He had killed himself after his parents were killed in a plane crash, but he seems to be back right when his brother Simon is about to claim his inheritance. and to complicate matters, his sister (Janette Scott) seems to be going mad. some great scenes of the cliffs at Dorset, England. and aunt harriett (Sheila Burrell) doesn't think Tony is who he says he is. this one is actually pretty good. a social worker's case study. Has the sister really "gone around the bend", as they used to say? is Tony who he says he is?? Directed by Freddie Francis, who won TWO oscars for cinematography for Glory and Sons & Lovers. more of a thinker piece, a psychological work than the usual Hammer horror film. I liked this one.

Paranoiac is directed by Freddie Francis and loosely adapted to screenplay by Jimmy Sangster from Josephine Tey's novel Brat Farrar. It stars Oliver Reed, Janette Scott, Sheila Burrell and Alexander Davion. Music is by Elisabeth Lutyens and cinematography by Arthur Grant.

The Ashby family has been blighted by tragedy. 11 years previously the parents were killed in an accident and their younger son, Tony, was so grief stricken he committed suicide by leaping off of a nearby cliff into the sea below. However, Anthony's body was never found. The remaining siblings, Eleanor (Scott) & Simon (Reed) have been raised at the family mansion by their aunt Harriet (Burrell), and neither of them have grown into stable adults. So when an adult comes into their lives claiming to be Tony it further opens up neurotic wounds and dark family secrets.

Skeleton in the closet.

Hammer Films tag onto the coat tails of Hitchcock's Psycho with this slick and moody psychological thriller. The studio would become synonymous with reinventing the creature feature sub-genre of horror that encompassed the likes of Dracula & Frankenstein. What often gets overlooked is that in the 60s they were producing some excellent thrillers, little seen gems that didn't even get home format releases in Britain until over 40 years later! Paranoiac is one such gem, it forms part of the thriller splinter involving someone either going insane or being driven so by unscrupulous bastards.

Paranoiac thrives on slow burn pacing and atmospheric black and white photography, and features a roll call of characters who are either up to no good or are clearly skew-whiff in the head! Perfectly filmed out of the Isle of Purbeck, Dorset, England, where the jagged cliff faces match the fragmented state of minds of the principal players, it's a film that benefits greatly from the acting on show. Reed is an oily drunk and a bully, Scott expertly portrays a timid gal clinging onto to her last bit of sanity and Burrell puts a shifty cynicism into mollycoddling Aunt Harriet. Pleasant surprise here is Davion as the man claiming to be Tony, not a well known name but he does a great job in a tricky role, with cards held close to the chest he handles a big shift in the character's fortunes with a smoothness that's most impacting.

It's no Psycho (what is?) and it has some minor flaws in the writing, such as an incestuous thread that is never expanded on, but this is still a moody little cracker of a thriller. Slow burn for sure, but always holding the attention right up to the deliverance of a joyously macabre finale. 7.5/10

Screenwriter Jimmy Sangster, king of the recycled thriller, here does an uncredited rewrite on Josephine Tey's novel "Brat Farrar", with siblings Janette Scott and Oliver Reed on the verge of sharing the family fortune when their brother, long thought a suicide, returns to the fold. Hammer Films production, distributed stateside by Universal, eschews the Gothic castles and ghouls for psychotic relatives--and when Oliver Reed gets wound up, there's hardly anyone more off-balanced. Melodrama is certainly crisp and well-mounted, balancing shudders with general hysteria, but these mad, maddening characters do not merit much interest. ** from ****