Scary, Snowy Romps!
By Kristin Battestella
Well there’s nothing like ye olde killer neighbors, mountain monsters, and things going bump in the cold night to keep you cuddled by the fire, is there?
How Awful About Allan – Joan Hackett strikes again alongside Anthony Perkins and the late Julie Harris (The Haunting) in this Aaron Spelling produced and Curtis Harrington directed (What’s the Matter with Helen?) 1970 television film from writer Henry Farrell (Whatever Happened to Baby Jane?). The suspense gets right to it with a fire, screaming, survivor guilt, resentment, and hysterical blindness. The intriguing, disorienting, blurry film focus and dark camera photography match Perkins’ sightless actions and mannerisms as his eponymous victim becomes obsessed with trying to prove his new, unseen roommate wants to do him harm. Yes, the Victorian house and post-institution, possibly crazy reclusiveness will seem too obviously Psycho to some viewers, but the increasingly angry tape recordings, crazy carness, heavy music, and scary whispers provide plenty of fearful spin. Retro décor and old, wintry styles accent the seemingly sunshiny household, but the nighttime paranoiaand scary inability to see intensifies the strange noises and point of view eerie. Why aren’t there more visually impaired horror protagonists? This tiny 73 minutes makes you love your glasses a little more! Though not billed as a horror movie per se and the end loses a touch, this taut thriller has all the suspense, lightning, creepy family implications, and desperation needed.
Nightmare – Oft Hammer compatriots Freddie Francis and Jimmy Sangster team up for this very moody and effective 1964 black and white thriller. Eerie music and smart uses of silence anddiegetic sound accent the sixties styles, snow scenery, and mysterious country estates. Excellent light and shadow, candlelight and silhouettes also push the insanity fears, paranoia, violence, murder, and creepy ladies over the edge. There’s a wonderful, scream-filled flashback adding to the mystery, and solid suspense filming works for both the nightmare bizarre and the askew real world, too. Is crazy inherited? What does childhood trauma do to the mind? Or is there something else at work entirely? Some of the screams might be a bit too much, and at first, one may think this is merely an extended Twilight Zone episode. However, some added kink keeps the audience wondering how far the terrors are going to go. The twists keep on coming for not one long Twilight Zone, but rather this invokes a lot of TZ-esque tricks woven together – and it works.
Snowbeast – Ominous music and dangerous snowy slopes belie the sunshiny 1977 ski fashions, snowmobiles, and lush Colorado locales peppering this deadly bigfoot tale. Despite the faded public print, a slightly small scale made for television production, and some pathetically lame bloody ski jackets; lovely forests and mountain photography shine along with tracking zooms and killer camera perspectives. And the cast knows how to ski! The spooky atmosphere restarts slightly once Bo Svenson (Breaking Point) and Yvette Mimieux (The Time Machine) arrive, and a past love triangle is somewhat unnecessary, as is a skimpy Olympic flashback. However, these elements provide some unexpected for a horror movie of the week dialogue on how Olympians often have difficulty coming down to mortal levels and regular life after such glory. Womanly angst aside, this really is just a Jaws in the snow clone – one man believes in a monster after an opening attack, but pesky grandma Sylvia Sidney (Beetlejuice) dismisses it as an avalanche and withholds the news because the economically needed carnival must go on. Unheeding people take to the slopes, death ensues, and sheriff Clint Walker (Cheyenne) claims it was a grizzly attack by presenting a mistakenly shot bear. Contrived miscommunication and crap police action grow tiresome and the ski montages are a tad longer than necessary. Thankfully, the period lack of smartphones and natural snowy isolation remain effective. Shaggy Yeti arm appearances create scare toppers amid the more dramatic act by act pace, and the bigfoot gone wild is smartly only seen in shadows, dark windows, hairy flashes, or with quick, snarling teeth. Seeing what the monster does – over turned vehicles, logs tumbling, shattered glass – rather than what it definitively is keeps this watchable despite those Jaws comparisons and dated archetypes. The pace is uneven in the final act – switching focus on characters and coming to a somewhat speedily conclusion considering how we really just watched people skiing for 85 minutes – but this one remains fun for a summer cool down or a snowy night in with the family.
You make the call Addicts
The Crawling Eye – The true The Trollenberg Terror title actually seems like a better name for this 1958 SF gone awry tale, as highlighting the eponymous monster effect isn’t really a very good idea. Thankfully, climbing terrors, ropes fraying, men falling and natural fears of snow, cold, and mountains keep the pace interesting. Toss in a weird psychic chick (Janet Munro, the boy who’s a girl in Swiss Family Robinson), past radiation iffy, missing mountaineers, and local superstitions and you get plenty of peril. Great pulsing, heavy music and nice scares and violence increase as the suspicions and conspiracies get crazy. Unfortunately, the familiar premise would have been more interesting if not for the seriously hokey science equipment and faulty logic. The tone is too stuffy and British dry, and the mountain photography and poor backdrop designs are kind of, well, strange. All that might be a cult horror fan’s low budget or dated charm, granted. However, it is dang tough to tell who is who, and the deadly moving mists and that titular eye are too laughable for most viewers to take seriously, which hampers a lot of the campy fun.