Night Tide

Released one year prior to the atmospheric, surreal horror classic "Carnival of Souls," "Night Tide" is a similarly bizarre film that radiates an odd effect. Johnny (a young Dennis Hopper) falls in love with Mora (Linda Lawson), a sideshow performer who might also be a mermaid with a penchant for murdering her lovers. The performances are adequate and realistic, with Hopper conveying a proper balance of lovestruck awe and confusion; Lawson is fittingly remote and enigmatic. Writer-director Curtis Harrington builds a fair amount of suspense and limits the action to several effective dream sequences, thereby retaining a surreal mood. Not as wild as Jack Hill's "Spider Baby," nor as subtly brilliant as "Carnival of Souls," "Night Tide" is a diverting in-between that's worth a look.

Sailor on shore-leave meets and falls for a mysterious woman who works as a carnival mermaid on the California coast. Is she a neurotic or actually a descendant of the Sirens? Moody mystery isn't quite the thriller it was advertised as. It has a straightforward narrative and very few actual surprises, but there are surreal bits, a great beatnik party on the beach, terrific black-and-white cinematography, and handsome, pre-hippie Dennis Hopper at his most grounded and friendly (and polite!). The film hopes to absorb its audience by means of atmosphere and little red herrings, not big shocks. I admired the film, but it's not to every taste. **1/2 from ****

No need to repeat the plot or dwell on consensus points. A few remarks about the movie's significance might be helpful, however. Harrington's quirky little film was part of a larger independent effort in the early 1960's to break away from studio domination and commercial conformity. The movement came along in the wake of John Cassavetes' groundbreaking Shadows (1960), and also at a time when European films from Fellini, Bergman and the French New Wave, et al, were expanding audience perceptions. Shadows proved that audiences were ready for a more daring product than what Hollywood of the 50's was producing. Perhaps more importantly, Shadows showed that a quality feature-length film could be done on a small budget ($40,000), with a non-union crew, get commercially distributed, and be reviewed in major publications (Night Tide, I recall, managed a good review in mainstream Newsweek). One or more of these factors had long prevented emergence of an independent film movement outside studio bounds. But by the early 60's, times had changed.

Night Tide remains an oddity, sort of a blending of Shadows and Roger Corman with the ghost of Val Lewton hovering in the background. The ending is unfortunate, something of a loss of nerve given Harrington's overall imaginative approach. What impressed me then, and still does, is the director's visual style. Most every frame amounts to a well-composed visual treat, even when taking in the flat side of Santa Monica's ocean front. It's a measured, near- lyrical style, well suited at capturing the poetical side of horror a la Lewton—a dimension sorely missing from today's bloodfests. Anyway, the movie shows considerable promise; I'm just sorry Harrington slipped into obscurity, never developing into the career I think his talent deserved. Meanwhile, the movie furnishes a look-see into what was then a fresh movement in film-making.

Though it is a small production, it is interesting in the way it deals with the myth and mystery of the sea and its lore. We are purposely given sketchy information about the carnival mermaid who may in fact be a siren luring the lonely sailor nearly to his doom.

A very young Hopper plays the sailor, and Lawson is sufficiently enchanting to make us believe that she is more than just a girl wearing a fake fishtail. The film has a TWILIGHT ZONE quality to it, leaving the viewer wondering at the end.

Oddball cheapie is a lot of atmospheric fun for about an hour or so, then kind of just peters out with a weak ending. Still, there is a nice tone to the off hand, low key acting, and it is wonderful for an L.A. Lover to see Santa Monica and Venice as they looked in this period. This film, along with Welles "Touch Of Evil" and John Parker's "Dementia" aka "Daughter of Horror", form a sort of dark trilogy of Venice Beach Noir. The unmistakable Bruno Ve Sota (the poor man's Orson Welles?) is in two of them. Anyway, it's a must for any fan of the "Pyschotronic" film underground, you'll be glad you checked it out. Love the scene with the Seagull.