Plot: What’s it about?
After suffering a nervous breakdown, Peggy Heller (Judy Geeson) has started to recover and is now headed toward a fresh start, of sorts. She has married a man named Robert (Ralph Bates), who teaches at an exclusive school for boys. As part of her new marriage, she plans to move in with Robert at the rural boarding school, but on the night she is to depart, she is attacked by a strange assailant. The attacker has only one arm and while the incident has frightened her, Peggy plans to move ahead with her plans. When she arrives at the school, it turns out to be an odd and disturbing place to her, especially once she encounters its headmaster. The man in charge is Mr. Carmichael (Peter Cushing), a very strange individual in his own right, even if he wasn’t married to the ice cold, bitch on wheels named Molly (Joan Collins). In addition, the school just seems too prim and proper to her, as if some dirty secrets were present and someone was always working hard to maintain the pristine appearance. One night while resting in their cottage, Peggy finds herself confronted by the one armed man yet again and of course, she is petrified that the attacks could become frequent. So when Mr. Carmichael breaks into the cottage, Peggy assumes it is the one armed man and shoots him. In the moments that follow, all her memories have been lost and buried in her psyche, leaving her in the dark about her own actions. Has she killed Mr. Carmichael, was it all a dream, or is some darker force at work at the school?
The studios of Hammer were behind some of the best horror movies out there, ones built on Hammer’s trademarks. This meant superb casts, often with Peter Cushing or Christopher Lee, as well as overdoses of atmosphere and effective visuals. Around the time Fear in the Night was released however, Hammer was engaged in more graphic projects, both in terms of sex and violence. This was because horror cinema was headed more in that direction, so Hammer hoped to keep up by using those elements themselves. But with Fear in the Night, we see traits of Hammer’s old ways, though not in terms of their horror movies, instead this one resembles some of their more traditional thrillers. The strongest aspect of this production is the cast, which includes Cushing, Judy Geeson, Ralph Bates, and even Joan Collins, all of whom turn in more than solid efforts. Even with director Jimmy Sangster, who directed Lust for a Vampire and The Horror of Frankenstein for the studio, at the helm, Fear in the Night never amounts to much. I don’t think it is a bad movie, but it is simply a tired premise given precious little new blood and of course, that means predictable twists and by turn, a sense of doldrums at times. So unless you’re a diehard Hammer or Cushing fan, this one is best recommended as a rental. But Hammer fans should note, Sangster’s commentary here is a treasure and offers endless insight into Hammer’s productions. So while the movie is only average, the commentary alone warrants the price of a rental.
Just as a bad actor can be counted on to muck up a good script, a great actor can often enhance weak material. And in the case of Fear in the Night, that is what veteran Peter Cushing tries to do with mixed results. I think we all know what a skilled thespian Cushing was, so it should be obvious that he could make the best of any cinematic situation. If this were just thin material, I think Cushing could have done a lot to enhance it, but since it just recycled material, several times over even, he can only do so much. As most people should be able to pick up on most of the twists well before they happen, the tension and suspense is sapped out, which always leaves up a few steps ahead of the characters. This puts the actors in a tough spot of course, but Cushing and the others still manage to deliver solid efforts. Other films with Cushing include Shock Waves, The Satanic Rites of Dracula, Twins of Evil, The Flesh and The Fiends, and The Abominable Snowman. The cast also includes Ralph Bates (Lust for a Vampire, Dr. Jekyll and Sister Hyde), Judy Geeson (Doomwatch, Poldark), and Joan Collins (Homework, Tv’s Dynasty).
Video: How does it look?
Fear in the Night is presented in 1.85:1 anamorphic widescreen. I have to assume some pristine materials were located for this edition, as the print used has almost no signs of age or wear. The print has some light grain, as intended, but debris and marks are absent, even the most minor ones never surface. The colors look as bright as you’d want, given the film’s tone and black levels provide proper detail levels. As this is one of Hammer’s lesser works, I was concerned about this transfer, but once again, Anchor Bay has ensured the best possible treatment. So you can chalk up another dynamic visual transfer for Anchor Bay, who have once again delivered an elite level presentation.
Audio: How does it sound?
The audio isn’t as impressive as the video, but all things considered, it provides a basic, solid experience. You can hear some signs of wear & tear at times, like little hiccups and some minor hiss, but on the whole, the materials have held up reasonably well. Of course, this movie isn’t a real audio powerhouse and it relies on mostly subtle elements, so the limitations of mono never prove to be much of a hindrance. A little more presence might have enhanced the suspense in some scenes, but I doubt a new surround mix would have made a significant impact. The music sounds passable, with only a few defects, while dialogue is clean and clear throughout. Not a modern marvel in terms of audio, but a decent and acceptable presentation.
Supplements: What are the extras?
As I mentioned before, the audio commentary with director Jimmy Sangster is worth the price of admission by itself, as it is a treasure trove of Hammer lore. Given that Sangster worked within the studio for over twenty years, he is able to provide priceless insight into its rise and fall, all told in a candid, talkative session. Sangster is joined by Hammer Films historian Marcus Hearn, who makes sure to keep Sangster’s thoughts focused. This disc also includes the film’s theatrical trailer, which reveals almost the entire plot of the picture.
