Die Ausgekochten

Maniac is one of the lesser known of Hammer's "psychological thrillers" made in black and white around the 1960's. It's not fiendishly clever enough to be really memorable but it does have a few interesting twists. Basically the plot sees Kerwin Mathews stranded in a small French town where he books into a hotel and starts to feel attracted to the owners sexy young step-daughter. Soon after this, he also starts feeling attracted to the more mature but still sexy step-mother as well! Apart form this love triangle, there is a further problem, in that the missing family member in this scenario is the father, who is currently locked up in an asylum for a violent blow-torch murder committed years ago…now but he wants out, and our hero is about to be roped into aiding in his escape! The film doesn't hang together very well for the beginning hour or so, sadly mainly due to Kerwin Mathews' wooden performance. Seeing him flirt with the daughter and then casually drop her and turn to her mother left me feeling quite disconnected from the plot as I found him a very unlikeable character. However when the plot to spring the insane killer gets going, things get to be more fun, and its after this point that a few nice twists start being revealed. I didn't guess the ending, which I am glad to say.

The movie is nicely shot, and makes a lot of use of it's location, with some very nice location filming, especially a very odd ruin/cave which features in the finale. Although why it's set in France at all is of no consequence, they really could have used the exact same plot and just stayed put in England. Anyway it's nice to see these old movies again, and luckily this is out on DVD. It's worth a look.

Maniac is one of those rare Hammer films, a truly suspenseful horror. Its wonderful to watch, and so much better in widescreen. The unseen story intrigues, where the visual whets the appetite. A truly twisted story of intrigue and unrequited love, with a macabre twist that could only come from the studio that bred Christopher Lee and Peter Cushing as the ultimate horror team.

Although not as good as some of their other work, nevertheless, I was kept guessing as the plot became more complex, and enthralled by the scenery and style.

What is more, it is a contemporary film (well, 1963) and set in modern France, with real French actors!

I found this interesting enough at the start particularly with the bold and brave opening but I was soon hearing that good old postman ringing once if not twice and I rather took my eye off the ball as twist followed twist and the leading man switches from daughter to mother and back again and back again. Location shooting effective except the completely wasted finale scenes and the look generally was okay. Certainly it looked better than it sounded. Even on my shiny new Blu-ray the dubbed and undubbed accents were a strain to follow even with the dialogue being somewhat repetitive. The stuff with the blowtorch is fine and perhaps if there had been some more hard hitting sequences instead of all those loving clinches after only a couple of exchanges things might have been more involving, and believable.

If Hammer movies had been released the same way as vinyl records "Maniac" would be a typical B-side effort; meaning it's an extremely low-keyed, low-budgeted and nearly forgotten little black-and-white thriller that understandably stood in the shadows of the studios' contemporary Grand-Guignol horror productions, like the Frankenstein cycle starring Peter Cushing and the Dracula series featuring Christopher Lee. There are quite a bit of hidden treasures to discover amongst Hammer's modest thriller productions of the 1960's ("Scream of Fear", "Hysteria" …), but sadly "Maniac" isn't the studios' – or writer Jimmy Sangster's – finest piece of work. The film nevertheless opens very promisingly and provides a fairly large number of slick and unpredictable plot twists during the grand finale, but everything in between is dull and incredibly uninteresting. But what a great opening! In the usually quiet and peaceful French Camargue, a father catches the rapist of his 15-year-old daughter in the act and promptly extracts his bloody vengeance with a blowtorch! Hell yes! Four years later, the man – Georges - resides in a mental asylum while his gorgeous wife and astonishing daughter both fall in love with the traveling American painter Jeff Farrell. In return for his wife, Jeff agrees to help Georges escape from the institution and out of the country. But the plan goes horribly wrong and the blowtorch will have to be used some more! The basic plot is ingenious and suspenseful enough, but the 90% of the film revolves on the dire and slowly unfolding triangular relationship between the American, the mother and the daughter. The "maniac" in question also doesn't really deserve to be referred to as a maniac, as he doesn't come across as very menacing and makes a couple of really dumb moves during the climax. Still, the killer's choice of weapon is original and Michael Carreras occasionally generates a tense and unsettling atmosphere. "Maniac" is reasonably interesting material for Hammer fanatics, but not exactly recommended viewing.

American landscape painter Geoff Farrell (Kerwin Matthews), stranded in Europe, is attracted to Annette, a young French barmaid, but ends up falling for her seductive step-mother, Eve (Nadia Gray), instead. Four years earlier, the teen-aged Annette was raped on her way home from school and her father, Georges, institutionalized for taking an acetylene torch to her assailant. Eve soon convinces Geoff to help her husband, now a local hero, escape from the insane asylum but, once free, a frightening series of events makes it look like Georges was a homicidal maniac after all...

In the wake of PSYCHO, England's Hammer Studios made a few black and white "mini-Hitchcock" thrillers that tried to emulate the "Master of Suspense". PARANOIAC, MANIAC, and HYSTERIA all featured real or imagined madness, murder, sex, and deception -along with numerous plot twists- to keep viewers on the edge of their seats with varying degrees of success. There's a stark, creepy, noir-like quality to MANIAC and the unseen rape, torture and murder in the beginning is quite disturbing. The location shooting in the isolated region of the French Camargue is a decided asset and the compelling story, written by Jimmy Sangster, includes a number of suspenseful sequences before a surprise revelation that is near impossible to see coming. I've read complaints that this wasn't directed by Freddie Francis but Michael Carreras does just fine with the gialloesque material. Recommended.