Crescendo

This is one of those films that rarely gets a good review. In fact it's been pretty much forgotten! It probably isn't one of Hammer's greatest achievements but it is by no means one of the worst. There are some rather uneventful scenes but I think they add to the suspense. The photography is very effective in places and the setting is quite haunting in a picturesque kind of way. The music which obviously is a major part of the story also adds to the more sinister scenes. The best performance comes from the seductive and eccentric maid, Lilliane (played by Jane Lapotaire) and Joss Ackland also puts in a fine performance as Carter (the butler/minder). It is not available on DVD and probably never will be, so if it's ever shown on TV it's certainly worth a look at.

One of my sci-fi/horror/fantasy reviews written 50 years ago: Directed by Alan Gibson; Produced by Michael Carreras for Hammer Films; Released in America by Warner Brothers. Screenplay by Jimmy Sangster and Alfred Shaughnessy; Photography by Paul Beeson; Edited by Chris Barnes; Music by Malcolm Williamson. Starring: Stefanie Powers, James Olson, Jane Lapotaire, Margaretta Scott and Joss Ackland.

Tight little, well-constructed old-fashioned "psycho" horror thriller, with Stefanie in an ultra-short white nightgown. Depicts interesting and ominous possessive/sexual relationships among the characters and features fine soft-focus, slow-motion nightmares, plus brief exploitation of Olson's paralyzed legs a la Tod Browning's "Freaks".

Although Britain's Hammer Films is mostly known for their Gothic horrors (Frankenstein, Dracula, etc.), they also had a long series of "psycho" movies from "Scream of Fear" in 1962 to "Straight On 'til Morning" in 1973, which were in many ways even better (they definitely were by the 1970's) than their Gothics. This movie came fairly late in the cycle and perhaps isn't the best, but it is pretty decent. The story, as another reviewer said, is definitely "unusual". It isn't necessarily good and it isn't remotely believable, but it is certainly unusual. An American nurse (Stefanie Powers)comes to a secluded English mansion to care for the invalid adult son of a famous deceased composer. Right away she knows something is amiss. The sultry maid (Jane LaPortare)seems to have the guy addicted to drugs (and sex with her) and is using them to cruelly manipulate him. And SOMEBODY keeps playing the dead composer's music. . .The end is pretty absurd, but fun--and definitely surprising.

I had one big problem with this though. Apparently, they originally filmed this with some nude scenes by Stefanie Powers. Americans of a certain age will definitely remember Powers from the early 80's TV series "Hart to Hart" where she and Robert Wagner played husband-and-wife detectives. As Lionel Stander (who played the couple's butler "Max") said of her every week in the opening narration of the show: "She's GORGEOUS!!"-- which had to be the biggest understatement in the history of television. Anyway, some sick, depraved person seemed to have cut out her alleged nude scenes in the version I saw. Maybe some horny projectionist clipped them out and took them home for his, personal, um, use, but more likely it was someone trying to "protect society" (from what, God only knows). LaPortare (who is attractive, but a mere mortal compared to Powers) also seems to have received some unkind cuts, but she does have a brief nude swimming scene.

I don't mean to go on about this. It's still a worthwhile movie, but WHY must people do stuff like this?!

American Susan Roberts (Stefanie Powers) goes to the south of France to research the late composer Henry Ryman. She is staying with his family. There are his widow wife Danielle (Margaretta Scott) and his wheelchair-bound son Georges (James Olson).

This is a Hammer horror. Like a lot of them, they're not actually scary. It's more a psychological thriller with some injected nudity to try to make it erotic. It doesn't get sexier than Stefanie Powers but the movie drags. The flashbacks are too clunky. I really don't like shooting the pool scenes in a studio. There is something inferior about this and it annoys me. Besides all that, the bigger sin is the lack of tension, thrills, or scares. I guess it has a few thrills in the final section but it's too little, too late.

Hammer studios were obviously most famous for their horror flicks, but they did produce some work in other genres; and the thriller genre was one of their strongest outside horror, especially during the sixties with films such as Paranoiac and A Taste of Fear. I had rather high hopes for this one going into it despite its poor reputation simply for the fact that Hammer produced it and they have produced some good thrillers; such as those mentioned, but unfortunately it would seem that the studio's success in this genre didn't continue into the seventies as Crescendo, despite some good moments and positive elements, is a largely lacklustre thriller. The plot focuses on a young girl who goes to stay at a house in France to help her with a thesis. The house used to belong to a famous music composer but is now owned by his wife and son after the composer's death. The girl soon gets to meet the family as well as the staff and soon it becomes apparent that not everything is as it should be; mostly because everyone in the house is a weirdo!

The film's main problem is that it largely fails to be interesting; the story is derivative and not all that interesting anyway, and this isn't compensated for by the characters (who are also largely uninteresting) so we end up with a film that doesn't fit the 'thriller' bill very well. Most of the film takes place in an old, large house; although director Alan Gibson doesn't really make best use of this in terms of atmosphere. The director would go on to make the latter two films in the popular Dracula series - the fun Dracula A.D. 1972 and the disappointing Satanic Rites of Dracula and both of these lacked atmosphere too. Crescendo was apparently made for TV and this is pretty obvious as it's all quite tame; there are actually a few murders in this film but we never get to see much blood and they're not very brutal. Nobody in the cast particularly stands out either; Stefanie Powers is the biggest standout in the lead role, though not particularly for her performance. There is a twist at the end which comes as something of a surprise, but as the build up to it is quite dull; the twist doesn't come off all that well. Overall, I can't say I enjoyed this film much and I'd only recommend it to Hammer Horror completists.