Bloodwank

I've long held a great fondness for genre cinema that lays the bite on a family. I suppose because family is about the most primal, fundamental structure in society so if you really get pulling on those teeny tiny strings you can make the whole edifice feel like it's in trouble. Of course such films come in every shape and size, from the everything will be fine and nobody was ever in much danger types right through to the family itself as trunk of rot and ooze types. The Strange and Deadly Occurrence sticks mostly on the light side of the genre, but through swift pace, smart direction and determination to put everyone through the ringer with very little downtime, it manages to be a definite winner. The story is as simple as they come, a happy family in a beautiful new house are plagued by rapidly escalating unusual and menacing events. Something doesn't want them there, but why? ...Well to be honest the why isn't all that interesting. No great twists and turns, nothing too unusual or imaginative. Pretty commonplace actually. Also it renders some of what has gone before even more unlikely than it already was. Doesn't matter much though, as this is pretty small scale stuff with little in the way of ambition, just standard tightly composed TV movie thrill-chiller territory. The ending wraps everything up in suitably suspenseful fashion there are some good scares and the acting is on the mark. Robert Stack (Airplane) plays the head of the house well, determinedly hanging on in the face of the unknown but still considerate towards his wife and daughter, never brash nor intemperate but not weak either. The sort of guy you can relate to really. Vera Miles (Psycho) is equally good as his wife, somewhat more cowed by affairs but never hysterical or even especially nervous, holding herself together for the good of all. Margaret Willock comes off well as the daughter of the piece as well, the sort of role that usually drags but she manages to be perfectly likable. They work well together, and their convincing mounting fear gives the jolts that little extra push. As far as the jolts go, they are all fairly tame but a couple make their mark well, and the whole affair is boosted by quality direction from veteran John Llewellyn Moxey (City of the Dead), including various adeptly gripping sequences of fluid, roaming point of view camera-work rather similar to that of a slasher. So, as it all comes together, a decent diverting affair with some fine moments. Like most of its ilk it isn't likely to make too much of an impression on latter day audiences, being the sort of thing that mostly just freaked out kids watching it when it first aired, but its very much a solid affair and well worth a watch for fans of the eras TV chiller programming.

So this one middle class businessman seeming type named Clay Howard wants to drop out of the rat race, and after a little celebration, Splat! Ka-pow!, near fatal car crash. He winds up with a metal plate in his head and his wife and he go on a bit of a recuperation vacation. Stopping in a small town, they stay a couple of nights, enjoy pleasant rural company and good food at the local diner, purchase a lovely Art Deco lamp for a song at a local antiques store, then head on their way having experienced a delightful rest in rural Americana. Actually, there's weird sh!t going on. Sorry to disappoint fans of films about cookery and antiquing, this probably isn't for you. Though thinking about it, like cookery and antiquing it does offer some interest and mild thrills, so maybe it is a good recommendation. But yeah, weird sh!t is going on. I have to give Night Slaves some credit, it goes for some thing different to the many devil cult/political conspiracy/murder set up explanations so popular at the time, though not entirely original it does make a nice change. Also interestingly, the mystery of what's going on plays out with intrigue rather than menace, an enticing but inconsequential puzzle that largely avoids the standard escalating paranoid tension. It's a film favouring reason and acceptance, an approach that raises some moral problems that are never resolved but does give it a nicely unconventional yet very much of its time vibe. On the other hand the general lack of tension means that the film is far more likely to bore people, and the actors have to work harder. Happily the cast do well in selling events, James Franciscus may not bring much depth to Clay but his matinée good looks and easy charm make him a pleasant protagonist, and he is neatly balanced out by Lee Grant as his fretful and nervous wife, cagily watching a situation play out that she never even intended getting into in the first place. The two have good chemistry and an effective charge to their more dramatic moments, and the rest of the cast support them well, most notably Leslie Nielsen as the local Sheriff, a sturdy and realistic type who wants no trouble, just to get to the bottom of things, as well as oddball character acting legend Andrew Prine as a local weirdo who ends up playing a bigger role than expected and the lovely Tisha Sterling as a mysterious girl who may hold the key to proceedings. So the cast and the general interest of the film hold it together for a pretty solid 70 minutes or so, but it isn't the most memorable, thought provoking or exciting of films. Probably only recommended to science fiction and made for television buffs, and not at all bad as such, just a little above average.

As my experience of the era grows I find that early 70's made for TV genre fare mostly tends to follow the same pattern, a modish premise well wrought at a youth friendly yet still often scary level, with tight, self contained storytelling reminiscent of classic pulp short writing. Deadly Dream is a bit of an anomaly in that while its basic story is slim and contained, the underlying concepts are enough to power a serious minded science fiction feature if the right hands took hold of them. Mind manipulation, conservative versus utilitarian approaches to the future, concepts of pre-crime prevention and the strange and chilling permeability of the walls between sleep and our reality, there's a whole lot going on in Deadly Dream, so much that for all its basic thrills (and it does contain one genuinely shocking and intense sequence towards the end), one is left wondering that it might have been a lasting classic rather than the obscurity that it is today. This disappointment aside, there's plenty to like about Deadly Dream. It moves like a bullet, with intriguing incidents mounting a sense of paranoia with grace as well as speed. Though predictable, there's a cold, unnerving vibe to it that works well and the general lack of compromise to the tale does the vibe justice. The main players do very well with Lloyd Bridges as the lead, a scientist hopeful and determined but buckling steadily as his drive comes up against that which he cannot understand. Janet Leigh is equally fine as his wife, confusion curdling into fear, slowly harrowed yet never without an underlying sympathetic support. Then there's effective menace from Don Stroud and Richard Jaeckel, and more sympathy from Lief Erickson as an older scientist, cautioning but helpful and kind. So with the general actorly commitment and solid direction this is a decent little thriller, but the gap between what is and what might have been is so great its a difficult film to fully like. Worth a watch then, but don't set your expectations too high.