Skip Navigation

Frame by Frame

Posts Tagged ‘Robert Bloch’

William Castle’s The Night Walker (1964) Finally Released on DVD

Wednesday, April 6th, 2016

William Castle’s last truly accomplished suspense film is finally available on a DVD release.

As Wikipedia notes, “The Night Walker is a 1964 American psychological suspense thriller by genre specialist William Castle, with an original screenplay by Robert Bloch, starring Barbara Stanwyck, Robert Taylor, Hayden Rorke, Judi Meredith, Rochelle Hudson, and Lloyd Bochner as ‘The Dream.’ The film was one of the last black and white theatrical features – photographed by suitably dreamlike monochrome by the gifted Harold E. Stine – released by Universal Pictures, and Stanwyck’s last theatrical motion picture, before she moved over exclusively to television work.

The film chronicles the ordeal of Irene Trent (Stanwyck), who is unhappily married to a blind, pathologically possessive millionaire inventor, Howard Trent (Rorke). Howard and Irene’s palatial mansion is packed with an endless assortment of clocks, all in perfect synchronization, and Howard tape records all conversations in the house for later reference, hoping to catch Irene plotting an illicit liaison.

Irene thus lives in a constant state of dread, wondering how far Howard’s jealousy will go. Yet despite Howard’s continual accusations of infidelity, Irene remains faithful to Howard, but has nightly recurrent dreams of a fantasy lover as a sort of escape from the reality of her tormented existence. She is also attracted to Howard’s personal attorney, Barry Moreland (Taylor), the only visitor allowed in the house.

Howard spends most of his time working in his laboratory on a variety of projects, the nature of which he refuses to divulge to anyone. As tensions mount, Irene feels trapped in a loveless, lonely relationship. But suddenly, everything changes: one night, Howard is killed by an explosion in his laboratory, and Irene inherits the house and Howard’s entire fortune.

The laboratory itself, a charred wreck, is secured from the rest of the house by a deadbolt so that no one may enter. Irene, after consulting with Barry Moreland, decides to move out of the house, into the back room apartment of a small beauty shop she owns, ‘Irene’s,’ which she operated before she met and married Howard. Almost immediately, the dreams of a fantasy love begin again, with increasing intensity, until they take the form of an “ideal” man—known only as ‘The Dream’ (Bochner).

Night after night, ‘The Dream’ appears before Irene, whisking her away to a bizarre wedding ceremony in which she ‘marries’ ‘The Dream’ in front of a group of wax figure witnesses, or engages in a harmless tryst over champagne in a deserted hotel. Irene begins to doubt her sanity and unaccountably finds herself wishing to return to the nightmarish house she shared with Howard. But the reality behind Irene’s dreams is a secret that The Night Walker withholds until the very end; a bizarre and complex tale of murder, betrayal, and deception.

Modestly budgeted, and shot entirely at Universal City, the film was a change of pace for Castle, who usually relied on gimmicks to sell his films, such as ‘Emergo’ for House on Haunted Hill, or ‘Percepto’ for The Tingler. This time, Castle relied on Bloch’s reputation as the author of the novel on which Alfred Hitchcock’s Psycho is based, as well as the re-teaming of Stanwyck and Taylor, who had been married from 1939 to 1951, as being sufficient to publicize the film.

Nevertheless, the film was not a financial success. The Night Walker marked the end of Castle’s most influential period as a director, although he would go on to produce and/or direct a number of additional films for Universal, and later, Paramount Pictures – most notably producing Roman Polanski’s Rosemary’s Baby in 1968.”

This has been available only on VHS since 1993; it’s really nice to see this sharp, atmospheric film get a legitimate DVD release as part of the TCM/Universal “Selects” series, on a double bill with director Harvey Hart’s lost supernatural thriller Dark Intruder, another film that has never been available on DVD, with a strong link to the works of the writer H.P. Lovecraft. The DVD was released with almost no publicity on December 7, 2015, and I just stumbled over it by accident – I hope people will take the time to watch this intriguing and impressive film, a lost gem that really deserves greater attention.

The Night Walker – with a great score by Vic Mizzy – is well worth viewing.

Psycho (1960)

Friday, October 7th, 2011

Creepy.

That’s the only way to describe Anthony Perkins‘ career-defining performance in Alfred Hitchcock’s Psycho (1960), one of the films that hastened the end of the Hays/Breen production code, and introduced modern horror to the screen.

There were two theatrical sequels, a TV movie (Psycho IV: The Beginning [1980]) and a modern remake in 1998 by Gus Van Sant. None of them approached the power of the low-budget, black and white original. With Hitchcock’s striking ominous visuals, coupled with Bernard Herrmann’s propulsive score, the film was a solid box-office and critical hit. If anything, the film’s reputation has grown since its initial release.

Psycho had a curious genesis: Hitchcock was under contract to Paramount Studios for his theatrical films, but was also contracted to Universal Studios for his television show Alfred Hitchcock Presents, an anthology series of mysteries, each running roughly 30 minutes, which debuted in 1955 (the show expanded to an hour in 1962, and ended its run in 1965).

Hitchcock usually confined his input on the series to helping to select the stories for dramatization, lending his name and image to the project, and also providing a series of delightfully droll introductions and postscripts to each teleplay, which he personally delivered in his usual laconic style.

The episodes themselves were directed by such old hands as John Brahm and Robert Florey, and were shot in two to three days at most, with a Universal TV crew working at maximum efficiency in serviceable black and white. Very occasionally, however, Hitchcock would direct an episode of the series, and when he did, the speed and professionalism of the Universal crews astounded him.

Ordinarily bored by the filmmaking process — the actual shooting seemed almost an afterthought to his exquisitely detailed storyboards — Hitchcock found himself caught up again in the excitement of actually shooting a movie.

Having known for some time that his 1950s big budget suspense film strategy was fast falling out of favor, Hitchcock cast around for some fresh material, and found it in Robert Bloch’s novel, Psycho. Using an intermediary to keep the cost down, Hitchcock bought the rights to the novel, and pitched the project to Paramount.

But Paramount found the material too exotic, offbeat, and problematic, and refused to finance the film. After much negotiation, Hitchcock struck a deal to shoot the film at Universal in black and white, using his Alfred Hitchcock Presents TV crew, funding the budget of $806,947 entirely with his own money, and also deferring his standard director’s fee of $250,000 in return for a 60% ownership of the film’s negative. Still unconvinced that the finished film would click, Paramount nevertheless acquiesced, and agreed to release the finished film.

Hitchcock shot Psycho on a very tight schedule, starting on November 11, 1959, and wrapping on February 1, 1960. When Psycho opened, it broke the box-office record of all of Hitchcock’s previous features, and signaled the beginning of the end for traditional Hollywood censorship, with its sinuous synthesis of sex, violence, and hitherto uncharted psychiatric territory — at least in a major Hollywood film.

Viewers wanted something fresh, and Psycho provided precisely that — the shock of the new. The film became an instant classic, and remains so today; the Psycho house and the Bates Motel sets still stand at Universal Studios, and remain a potent attraction for visiting tourists.

With the success of the film, Tony Perkins was forever typed by the film as hotel owner Norman Bates; though he continually tried to break free of the mold, Perkins eventually became so identified with the character that Universal let him direct, and star in, Psycho 3 (1986).

More than half a century old, Psycho still has the power to shock, to surprise, to enthrall the viewer. And yet, despite the film’s classic status, too few people have actually seen it.

Every fall, I teach an Introduction to Film History class at UNL, and last year, as Halloween approached, I decided to run Psycho as an appropriate offering for the season. I initially assumed that everyone knew the main thrust of the film, and the plot twist, but moments before class, I suddenly thought “wait a minute. I’ll bet half the people here have never even seen the film, much less heard of it.”

A quick show of hands determined this to be the case, and so I simply said,”OK, here’s Alfred Hitchcock’s Psycho, and we’ll talk about it after the screening. Anything I tell you now would only spoil it for you, so let’s just run it.” Afterwards, we did indeed discuss the film in great detail, and it really holds up; a remarkable piece of filmmaking.

So if you haven’t seen Psycho, get the DVD now and treat yourself.

We’ll talk about it afterwards, OK?

The Skull

Saturday, September 3rd, 2011

Patrick Wymark and Peter Cushing contemplate The Skull

Those who are in the mood for an atmospheric and intelligent horror film could do much worse than checking out The Skull, a 1965 horror film directed by Freddie Francis from a script by Robert Bloch, based on his short story “The Skull of the Marquis de Sade.” Recently released in an immaculate DVD in both regular and Blu-ray formats, in its original Techniscope / Technicolor aspect ratio, and boasting a cast that includes Christopher Lee, Peter Cushing, Patrick Magee, Patrick Wymark, Nigel Green and Jill Bennett, with music by avant-garde symphonic composer Elisabeth Lutyens, The Skull is perhaps Francis’ masterpiece as a director, and if you haven’t seen it — well, what are you waiting for?

Those who are looking for gore will be disappointed, but those who can appreciate an intelligent and superbly photographed film — the last 30 minutes are absolutely wordless, consisting only of a series of ever more ominous images as the skull takes possession of those who would trifle with it — recall the best of Val Lewton’s 1940s films, and remain as arresting and evocative as when they were first presented on the screen. Francis also photographed numerous films for other directors, including David Lynch’s Elephant Man, Dune, and The Straight Story – this is the work of a master craftsman, who won two Academy Awards for his cinematography on Sons and Lovers and Glory. As a director, his work is hard-edged, brutal, and always stylish.

Here’s the trailer for the film – now get the DVD before they’re all gone.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

RSS Recent Frame by Frame Videos