Homicidal

Just watch it- don't read anything about it. This movie is truly entertaining and I was wondering what happened to Emily that made her this way? Emily is a mess, a homicidal mess.

Lucky for us all, there is an explanation as to WHY Emily is so crazy, and I personally appreciate that because I always want to know why people do crazy things.

Emily is Helga's caretaker and it is obvious that Helga is terrified. Did Emily kill the real Emily and take her place? Is she planning on killing Miriam and taking her place? Does she even have a plan?

I felt so much sympathy for Helga, who is mute and confined to a wheelchair. It is obvious that she has been menaced by Emily for quite a while.

But sometimes, sympathy is misplaced...

perhaps this little gem was overlooked as a rip off of "Psycho"...but let's face it, no one could scare you back then except William Castle. He may have had his campy films and maybe he was no Hitchcock. But Castle's films reached into the "real lives" of people. Audiences could relate to his characters more than Hitchcock's. (unless any of you have ever been chased by a crop duster,in that case, i stand corrected) Homicidal is quite the shocker. The performances are better than the title would suggest, the end is not one to be missed. I personally think William Castle was a genius overlooked as a gimmick director. His films have never failed to make me jump (My jaw dropped at the end of Strait Jacket)and i've always felt he was the best horror film director of his time. For a movie from 1961, one of the decades of camp, it'll have the same affect on you as anything current. Castle was awesome.

This is yet another classic from William Castle, the king of the gimmicks. The gimmick used for this film, often compared with "Psycho", was the idea of a "Fright Break" during which the viewer has 30 seconds to determine if they want to see the 'terrifying' conclusion to the film. When released in theaters initially, there was a separate section that patrons could go to during the "Fright Break". Gimmicks aside this is a very well crafted, often goofy, and quite effective little thriller. The murders, acting, and storyline are all over the top and everyone in the movie puts on quite an effective performance. Standing out in her role as Emily is Jean Arliss. It seems that Emily is quite disturbed as the movie opens with an alarming murder sequence. The story goes downhill from there and, just when you think you have all of the answers, the film changes the questions! The ending is very shocking for first time viewers and yet this is the kind of film that also gets more and more entertaining with each additional viewing. Highly recommended for horror fans, even though it's often compared with "Psycho" I feel that the film stands out on it's own and it's ending is actually more effective than Hitchcock's. Watch this movie, you won't regret it!

Universally bombed by the critics--but they miss the point. This was classic Saturday matinee fare--and it was quite effective back in 1961. William Castle put his special touch on it and produced a quite entertaining, if campy take-off on a more famous varietal. OK, the acting was rather bland, perhaps to be expected from Glenn Corbett and Pat Breslin and a lesser known cast, but Jean Arless stole the show, with kudos also to Eugenie Leontovitch. This wasn't the best of the Castle fare, that award belonging to "Mr. Sardonicus" easily, but there were enough scares and suspenseful moments in "Homicidal" to titillate the adolescent (as I was then) in all of us TRUE horror film buffs.

This is among the director's most popular works, being the one that overtly played him up as a potential rival to Alfred Hitchcock (complete with Castle's cheeky introduction a' la Hitch's own TV appearances); at the same time, its deliberate nods to PSYCHO (1960) did not really endear it to critics but, of course, audiences at the time lapped it up… which only goes to prove just how much of a milestone the Hitchcock classic was when it first emerged and has remained so over the years through countless imitations!

Anyway, taken on its own merits, the film is certainly an above-average chiller for Castle – yet one is left wondering whether he was audacious or foolhardy in his approach towards the all-important plot twist; Hitchcock was certainly wiser in keeping "Mother" in the background, whereas Castle throws the secondary personality of the titular figure in our faces almost from the get-go! Indeed, the prologue should have been omitted entirely – as it really gave the game away to discerning viewers. The transvestism element, then, elicits unwarranted comparisons throughout with Ed Wood's notorious GLEN OR GLENDA? (1953) – but the PSYCHO borrowings, at least, are fairly well integrated into the narrative: a stint by the blonde leading lady at a run-down motel, a near-brush with the Law, a nosy investigator, an invalid also staying at the house, the put-upon young couple, etc. Having said that, the aforementioned prologue, the sadistic mistreatment of the latter character and the underlying "greed is the root of all evil" theme clearly anticipate the next phase in Horror film-making: the "Grand Guignol" chillers spearheaded by Robert Aldrich's WHAT EVER HAPPENED TO BABY JANE? (1962)…

Still, while it also has an early and would-be shocking (because apparently unprovoked) murder – that could have pointed out to yet another childhood sexual trauma in other scenarios – one cannot sensibly compare the impact of the bloody yet extremely clumsy stabbing of James Westerfield with the legendary shower sequence from PSYCHO involving Janet Leigh! Incidentally, even if we do get to hear the two personalities speak in the same sequence (as Anthony Perkins did in the earlier film), their never actually appearing together – to say nothing of the man's distinctly effeminate appearance – should have alerted audiences as to the nature of the ruse (not that her eventual uncovering – preceded by the gimmicky 45-second "Fright Break" – is totally ineffective, unlike her ultimate come-uppance…which comes off as rushed)! Casting-wise, it is obviously Jean Arless (actually Joan Marshall, who adopted the pseudonym so as not to be typecast, but her subsequent roles were negligible at best!) who makes the biggest impression, whereas Eugenie Leontovich's stroke victim – with her incessant banging to attract attention – gets on one's nerves very quickly!