Inn of the Frightened People

After the funeral of their young daughter, the family learns that the man who was suspected for rape and murder is let go because of the lack of evidence. The father, along with his older son and friend whose daughter was also killed by the same man devise a plan to kidnap and hopefully get the confession out of him. However things turn bad, when one slip after another leads to them turning on each other and having second thoughts that maybe they've got the wrong man.

There's potential there, but the compact, stiff script doesn't really tap into it enough and leaves plenty of the looming heavy-handed themes high and dry. Emotionally the film makes a huge dent, but more so in a bleakly intense and serious tone. The film itself is pretty fundamental and scandalously melodramatic as it rears it ugly head into brusque crudeness. Watching the characters lose control of the situation, and going on to tear each other apart as the misguided kidnapping triggers a disastrous domino effect is strangely gripping and at times rather uneasy. One interesting moment sees an unusual state of sexual tension between two characters, which has you thinking, was there something there before it erupted. Maybe it goes too over-the-top, and in doing so loses some creditability. Sidney Hayers' direction is efficiently workman-like, with little in the way of style, but he manages to draw up a tautly knitted atmosphere and milks out a few ample shocks. The violence and sexual context might not be explicit, but it's gritty and in what matters effective. Ken Hodges' sturdy camera-work is intrusively lensed and Eric Rogers' miss-guided musical score comes off daftly staged. The performances fall into the overacting category, but come off committed. Joan Collins who's no stranger to that tag, is gracefully fine and gives it her all. An edgy James Booth scorns about, and delivers a serviceable job with a complicated character trying to overcome his anger, which eventuates to guilt. Ray Barrett, Tom Marshall, Kenneth Griffith and the gorgeously rich Sinéad Cusack also star with tolerable turns.

There's flaws, but it's decently done to make it a passable cliff-hanger thriller.

This was originally called simply "Revenge" but the title was probably changed to avoid confusing it with other films so named, including an American film released the same year.

There is nothing American about this tale of revenge though, rather this is a typical low budget English drama that was quite common in especially the 1960s, albeit with a slightly unusual theme.

The principal characters are the loved ones of a young girl who has been murdered by a sexual predator, a local man believed to be responsible for at least one similar crime. The film begins with this man being released from police custody, apparently against the weight of the evidence.

Obviously this does not go down too well, so our misguided heroes follow him and their brief, distant interaction convinces them he is indeed the killer, so they decide to kidnap him and beat a confession out of him. What could go wrong?

A lot of things, naturally, and there is not one but two twists in the tale. One warning though - don't try this at home Or anywhere else.

Stalwart British filmmaker, Sidney Hayers relentlessly raises the teeth-grinding tension to a murderously-fevered pitch in his strikingly brutal, emotionally raw, uniquely British 70s suburban revenge classic, 'Terror in The House aka 'Revenge!'. A young girl is abducted and killed by a vile-minded predator, and once the victim's grief-stricken family furiously enact their righteous revenge they descend inexorably into a dismal existential miasma of blinding rage, bloody retribution and crippling emotional despond! Which is mother's milk to the likes of me!

Director, Hayers coaxes tremendously vivid, full-blooded performances from his singularly game cast of film & TV icons, the scintillatingly sleek Glamourpuss, Joan Collins, and James Booth were rarely better, with esteemed character actor, Kenneth Griffith twitchily putting in a career best as the disgustingly seedy sex-fiend, Seely! This is a long-cherished, excitingly mounted, unflinchingly dark British psychodrama that I never once expected to see so gloriously manifested on Blu-ray, and in this delightfully pristine, lovingly restored version,'Revenge!' is thoroughly deserving of an equally brand new, hopefully no less adoring audience! With an exemplary script by 'Saint' screenwriter, John Kruse, sterling performances, an engagingly grim tone, plus a fine score by, Eric Rogers, this gritty, downbeat 70s thriller remains one remarkably tough thrill-spiller that has lost little of its formidable dramatic impact.

This film starts out at a fair pace,but then the writer must have run out of fresh ideas and cobbled together the rest of the lcklustre plot.What is very strange is that top starred Joan Collins disappears well before the end.

Suspected paedophile child-killer Seely (Kenneth Griffith) is released by the police due to insufficient evidence. Pub landlord Jim (James Booth) and Harry (Ray Barrett), the fathers of two of the murdered children, decide to abduct Seely and force a confession from him. Together with Jim's son Lee (Tom Marshall), they bundle the man into their car and take him to the pub, where they push him into the cellar. Things get out of hand, however, and Seely is beaten up by Jim, Harry and Lee, and then strangled by the publican. The men presume Seely to be dead and try to figure out how to dispose of the body, but it later turns out that their victim is still alive, leaving the abductors with the problem of what to do next. Meanwhile, Jim's wife Carol (Joan Collins) discovers the man in the cellar, as does Jim's young daughter Jilly (Zuleika Robson), the situation spiralling more and more out of control.

Revenge starts off in great style, with the tense abduction, brutal beating and apparent killing of Seely, but once this part of is over, the film rapidly runs out of steam, as though the writers didn't know where to go next (at least until the conclusion). The script treads water for a long time, with the characters arguing amongst themselves about how they should handle the problem, whilst trying to keep a couple of pesky policemen at arms length, all of which gets rather repetitive. Perhaps the most interesting aspect of the film is the question of Seely's guillt: is the man in the cellar really a child-killer, or have they got the wrong man? This eventually comes into play in the final act, when Jim comes to believe that Seely is innocent and tries to make amends... at least until he leaves the man in the pub alone, and Jilly's pretty friend Lucy comes a-calling...

Moderately violent, with some cheap titillation from Collins (the actress appearing in her underwear), Revenge is a passable piece of British sensationalism/exploitation, but I couldn't help but feel that director Sidney Hayers could have pushed the boat out further with the overall grittiness.