Die Nacht des kalten Grauens

Susan George seemed to have spent a large part of 1971 being terrorised in rural houses by maniacs; in Straw Dogs she suffered violence at the hands of vicious country yokels and in Fright she is threatened by an escaped lunatic with murder on his mind.

Unfortunately, despite a great cast including George Cole, Honor Blackman and Dennis Waterman, and direction from Peter Collinson (who gave us the classic The Italian Job) this somewhat tedious thriller/horror rarely manages to be anything more than average.

Susan George (looking a lot like Sarah Michelle Gellar to me — only much sexier) is great as Amanda, the babysitter who must protect baby Tara when his homicidal father drops by for a visit; she convincingly portrays the terror of the situation (whilst simultaneously looking great in a very short dress), but even her performance cannot save the film; the histrionics in the latter part of the film undermine all that goes before and the finale, in which Amanda exacts revenge on the killer, is quite ridiculous.

Director Collinson manages a few nice touches (I particularly liked the intercutting between Susan George and Honor Blackman to show how the maniac was unable to discern between the two women), but the tension of the housebound action is dissipated by some dreadfully dull scenes set in a nearby restaurant and the local police station.

With a little more action, a bit less talk and maybe one or two more deaths, this could have been a classic little chiller — as it stands, it is just another so-so horror film which is unlikely to cause anyone sleepless nights.

Fright (1971) is directed by Peter Collinson, a largely under-rated film-maker who received his only positive notices for the film The Italian Job, though in reality he made a fair few good films such as Innocent Bystanders and The Earthling.

The story is simple, but fairly engrossing: a young babysitter in a lonely mansion is terrorised by an escaped homicidal lunatic. The babysitter is nicely played by Susan George and the maniac is very convincingly portrayed by Ian Bannen.

The film starts out just fine, with some careful and genuinely suspenseful build up scenes. Every now and then, we are fed another clue that someone unpleasant is hanging around outside the mansion... Dennis Waterman is assaulted whilst walking through the grounds; we see a cloudy figure sneaking past the kitchen door as George boils the kettle, etc. The film is pretty scary early on, and I'm not embarrassed to admit that the hairs on my neck were prickling a bit.

However, it all goes wrong later on. The maniac turns up about a third of the way in and the effective suspense suddenly gives way to sadism and over-the-top hysterics. Bannen, as mentioned earlier, plays the part very well, but the lines he has to speak and his actions are ludicrously and needlessly savage. I know he's meant to be a bad man, but his nastiness just seems too excessive. Collinson forgets to keep the suspense ticking over and lunges for the audiences jugular, dragging down what could have a great little thriller and turning into a mere exploitation shocker.

Amanda(Susan George),a young babysitter is called to watch the child at an isolated British manor.The child's mother,Helen(Honor Blackman),has had her husband committed after he tried to murder her and the child.Helen's psycho husband(excellent Ian Bannen)returns home and terrorizes young Amanda while Helen and her new boyfriend are out on the town.The film is pretty creepy-there are numerous false scares which work pretty well.The most surprising is the fact that "Fright" is pretty similar to "Halloween"-for example both movies take place mostly at night with a babysitter in peril.There is no gore and nudity at all,but like I said before,there are some effective scares throughout the film.I agree that "Fright" is pretty boring at times,but if you are a fan of British horror cinema give this one a look!

Fright (1971)

** (out of 4)

British thriller has teenager Amanda (Susan George) showing up for a babysitting job when she soon finds herself being terrorized by the kid's father shows up after escaping from a mental hospital. The father plans on murdering his ex-wife but plans change after he notices that the babysitter reminds him of her. FRIGHT has a few tense moments early on but after a pretty good start the film sadly falls apart pretty quickly. I thought the first thirty-minutes of the film were rather well-directed and features a couple tense sequences and it's really too bad the rest of the film didn't live up to the title. Director Peter Collison really does a nice job at building up the tension early on and I especially liked the way that he used sound effects to build up not only the atmosphere but also some creepy moments. One perfect example deals with some dripping water but the highlight of the film is one of the first stalking scenes we witness as the babysitter's boyfriend is outside and being followed. This scene is without question the best of the movie and is almost strong enough to make the entire film worth sitting through. The problem with the final hour is that not too much happens. The entire thing is extremely slow paced and like many British films, the dialogue is just way too much and it pretty much takes over the picture and not a single thing said is interesting. Even worse is how the film keeps flashing back and forth between what's going on inside the house and what the kid's mother and stepfather are doing in town. Yet another problem is simply how stupid the babysitter gets once more of the action takes place inside the house. Fans of George will no doubt want to see her here as she's as cute as ever and turns in a decent performance. Honor Blackman and Ian Bannen are good in their supporting roles as well. FRIGHT manages to have a couple good sequences but sadly there just aren't enough to keep the film entertaining throughout.

This is a fairly interesting picture with lots of British faces and a gorgeous young Susan George playing the babysitter. Ian Bannen's acting doesn't bear close inspection at the best of times, but here his characterisation seems appropriate. This is a seventies film so flares are much in evidence and Dennis Waterman has some wicked side burns. Also check out the amusing restaurant scene where diners in velvet dinner-wear are grooving and shimmering to a guy playing a jazzy number on a Hammond organ. Overall though, an interesting yarn.