Crawlspace

One of my sci-fi/horror/fantasy reviews written 50 years ago: Directed by John Newland; Produced by Robert Berger; Executive Producer: Herbert Brodkin, for Titus Productions. Telecast by CBS-TV. Screenplay by Ernest Kinoy, from Herbert Lieberman's novel; Photography by Urs Furrer; Edited by Carl Lerner; Music by Jerry Goldsmith. Starring: Arthur Kennedy, Teresa Wright, Tom Happer and Eugene Roche.

Very fine contemporary horror telefilm which handles a limited-space abstract situation (a boy gone primitive holed up inside a protective childless couple's house) with finesse. Unfortunately watered-down to fit broadcast television standards, this clearly post-"Straw Dogs" and "Willard" tale has an obsessional thematic directness which is unusual for television.

Screen veterans Arthur Kennedy ("The Living Dead at Manchester Morgue") and Teresa Wright ("Shadow of a Doubt") play Albert and Alice Graves, a childless middle-aged couple living outside a small town, on the edge of the woods. They discover that Richard Roy Atlee (Tom Happer), a young man who's recently left his job, is now squatting in a crawlspace underneath their kitchen. Initially disturbed, they come to welcome his presence, and although somewhat sullen and withdrawn, he does appreciate the kindness that they show towards him. He never does, however, take them up on their offer to move into one of their actual rooms; he prefers the crawlspace.

There is a feeling of grim inevitability to this engaging made for TV combination of character study and psychological horror. Unfortunately, it comes as no surprise when Richard displays a dark side to his personality. Yet, one can't really hate him; you do feel some sympathy towards him, and realize that he is mentally imbalanced and needs family ties & a sense of belonging.

Of course, this being a TV movie, it's disturbing without being graphic in any way, even when people are felled by bullets or an axe. It's all directed with efficiency by John Newland, who went on to make 'Don't Be Afraid of the Dark', one of the most famous TV horror movies of the 1970s. It gets by largely due to convincing performances by the main trio of actors, and capable work by character actors Eugene Roche ("Slaughterhouse-Five"), as the concerned local police chief, and Matthew Cowles ('All My Children') as a young troublemaker. Kudos, also, to Jerry Goldsmith for his affecting music score and the filmmakers for creating a sombre atmosphere.

Good, if not great, material was scripted by Ernest Kinoy, a TV veteran who worked on things such as 'The Defenders' and 'Roots', from the novel by Herbert Lieberman. It doesn't conclude as strongly as it starts, but it keeps its grip for a decently paced 75 minutes.

Seven out of 10.

Older couple Arthur Kennedy and Teresa Wright (as Albert and Alice Graves) are in their New England retirement home when handsome young Tom Happer (as Richard Atlee) emerges from their basement, where he has "put in a new coil". Strangely attracted to Mr. Happer, Ms. Wright asks him to stay for supper, and Mr. Kennedy lets him borrow a rare addition of Blake from his library. Happer enjoys his stay, and drives off with the book of poetry. Later, Kennedy goes into the basement to investigate an electoral problem and discovers some of Happer's belongings in the "Crawlspace" under his house, including the borrowed book.

Sometime later, Kennedy and Wright realize the young man is living in the "Crawlspace" under their house. They decide to feed him, and try to get him to move into the spare bedroom. Kennedy wants to find him a job and Wright adds his name to her sister's Christmas card, "Love from Albert, Alice and Richard." The childless couple has obviously "adopted" their intruder has a surrogate son. But, Happer is weird - he carves "GOD" in the garage door, and refuses to come out of the basement for almost two months. Finally, at Christmas, he emerges from the "Crawlspace".

Now nearly mute, Happer helps around the house and yard; and, the three are happy. Still, Happer refuses to sleep in his bedroom, and retires to the "Crawlspace" at night. One day, chief of police Eugene Roche (as Emil Birge) drops by to warn Kennedy and Wright about long-haired Happer, who he believes might be a college drop-out involved with drugs. Happer reveals, when quizzed, that he formerly lived in a cave, and moved to the "Crawlspace" for the winter. Kennedy learns he is actually from Wyoming. All goes well, until Happer begins to interact with the small town's intolerant citizens…

Perhaps because it sticks to Herbert Lieberman's 1967 novel (until the ending), this is an above average edition of the "New CBS Friday Night Movies". Probably, because it was not part of ABC's top-rated Tuesday line-up, "Crawlspace" fell through the cracks. Veterans Kennedy and Wright are terrific as the lonely, unfulfilled couple. And, Happer is extraordinary as the personification of troubled youth - in an extremely difficult role, he manages to make his character both scary and sympathetic - and, he never succumbs to the temptation to overact the part.

If it had aired earlier in the season, the three might have been considered for Emmy Awards. Interestingly, acclaimed director Buzz Kulik did win an "Emmy" during the 1971-72 eligibility period for "Brian's Song" - the movie which dominated the awards that year. Mr. Kulik was replaced on "Crawlspace" by director John Newland, but would return to the creepy loner guy fold with ABC's "Bad Ronald" (1974). But, for the truest version of the alienated, isolated, and/or insane 1970s counterculture outcast youth, Happer's "Richard" shouldn't be missed.

Happer looks like he should have become a much more successful actor. He was one of the many "Dark Shadows" stars awarded parts in TV and theatrical movies during the early 1970s - he played a "Romeo"-type role on "Shadows", and would have continued on the show, had it been renewed for Spring 1971 season. Undoubtedly, Happer was one of the many "Dark Shadows" cast believing "DS" was a small part of a larger career; but, with a few exceptions, fans wanted them to remain in the "Shadows" eternally.

A more successful soap opera career was had by Matthew Cowles (as Dave Freeman), who plays a villainous townie. Jerry Goldsmith's score is also worth noting. "Crawlspace" was released on DVD in unfortunately "un-restored" condition (it's worth looking to see if CBS had a different edit, in some warehouse or vault). Until (if ever!) it's restored, the good folks at "Wild Eye" should receive "Dark Shadows" thanks for making Tom Happer's "Crawlspace" and Jonathan Frid's "The Devil's Daughter" the first two movies in their "TV Movie Terror Collection".

******** Crawlspace (2/11/72) Buzz Kulik, John Newland ~ Arthur Kennedy, Teresa Wright, Tom Happer

It's been awhile since I've seen this one, but I remember what it was about. A different young man is taunted by the so-called "normal" kids until he's finally driven to kill violently. This movie may be almost 30 years old, but (unfortunately) its message is still timely. Time to dust this one off and show it again. Good to watch as a family with discussion afterwards.

Ernest Kinoy adapted this bizarre story from a novel by Herbert Lieberman, concerning a young, unemployed electrician in a small town who returns to the last house he worked at--that of a friendly, elderly couple--and lives in seclusion in the basement. The couple, who have no children of their own, are initially disturbed to learn the kid has been sleeping in a damp, cramped crawlspace under their house...but soon they find themselves welcoming his appearances, fixing him dinner, buying him clothes, and giving him things to do. The local sheriff, and apparently some of the town residents, quickly find out about this unspoken arrangement between the wayward youth and his benefactors, causing all hell to break loose. For a TV-movie, this is pretty strong stuff, commendably given a matter-of-fact treatment which helps the plot unfold naturally (even if the material itself is unconventional). Unfortunately, Kinoy's teleplay goes awry in the third act, changing the personalities of its key players without warning and concluding on an absurdly melodramatic note. Otherwise, two-thirds of a good picture, and the performances are excellent all around.