Child's Play

Trouble is brewing at St. Charles, a Catholic Boy's School. Random acts of violence break out between the students nearly every week, seemingly escalating in intensity. Joe Dobbs, the popular, easy-going English teacher, and Paul Reis, the new gym teacher, aim to find out what's causing the brutality. Meanwhile, Jerome Malley, the grievous Latin teacher who despises Dobbs, begins receiving strange, obscene messages and packages at his home. Will Dobbs, Reis and Malley be able to discover the reason behind the violence at St. Charles, or will the savagery continue?

Directed by Sidney Lumet, and based on Robert Marasco's play of the same name, 'Child's Play' is an intriguing thriller that starts well and has many commendable elements, though fumbles its landing. Leon Prochnik's screenplay- like the source material- examines some interesting themes, such as the psychology of group dynamics, the nature of evil and the power structures within educational institutions. The film deftly navigates these complex ideas through its tight-knit narrative, though it occasionally loses momentum in its latter half, and the ambiguous ending- where nothing at all is concluded- is underwhelming.

However, the principal characters are believable and multifaceted; watching them wade through the seedy, intriguing plot is engaging. The idealistic Reis- an ex-student of St. Charles- serves as a conduit for the audience, taking us on a trip into the macabre. Dobbs seems to be the ideal teacher, warm and kind- though might have darkness beneath his light exterior. Malley, meanwhile, is fascinating, stern and severe with his students, yet he treasures it when ex-pupils send him letters, and always keeps clippings of them if they make the papers. He is, to quote Kris Kristofferson, "a walking contradiction," and a compelling character.

The dichotomy between Malley and Dobbs is the driving force of the film's tension. Malley's severity and isolation are contrasted sharply with Dobbs' affability and popularity, creating a dynamic that is as much a clash of ideologies as it is of personalities. The film uses these characters to explore the impact of authority figures on young minds, and how their differing approaches to education and discipline influence the students' behaviour.

Reis is a relatable character, whose journey back to St. Charles is a poignant reflection on the loss of innocence and the realization that the institutions one once revered may have dark underbellies. The students themselves, though less prominently featured, are essential to the narrative. They are not merely victims or perpetrators of violence; they are shown as complex individuals, shaped by the environment they are in. Their actions, though extreme, are presented not as anomalies but as symptoms of a deeper malaise within the school's culture.

The film's portrayal of these characters is subtle yet powerful, leaving the audience to ponder the nature of evil: is it inherent, or is it fostered by circumstance? Easy answers are not provided- in fact, no answers are provided at all- instead, the film offers a mirror to society's own struggles with these questions. Perhaps, considering the rumination it inspires and the interest it engenders, a more conclusive ending would have made it even better.

On the other hand, Gerald Hirschfeld's atmospheric cinematography cannot be faulted. His expert use of close-ups brings an intimacy to the characters, allowing the audience to see the subtle nuances of their emotions. His utilisation of shadows, meanwhile, creates a sense of foreboding, visually representing the darkness that lurks within the school and its inhabitants. Moreover, Hirschfeld's interplay between light and darkness not only sets the mood but also serves as a metaphor for the film's central themes. The way shadows creep across the walls of St. Charles reflects the insidious nature of the violence pervading the school.

The film's use of space is also noteworthy. The claustrophobic corridors of St. Charles mirror the oppressive nature of the institution and the entrapment felt by both teachers and students. The visuals are complemented by the sound design and Michael Small's eerie score. The echoes in the hallways, the murmurs of the students and the silence that punctuates the violence all contribute to an unsettling auditory experience, heightening the tension and underscoring the film's themes. Small's work, meanwhile, full of demonic-sounding chants, is evocative, stirring and unsettling.

Beau Bridges stars as Reis, alongside Robert Preston as Dobbs and James Mason as Malley. Bridges does fine work, astutely displaying the emotions felt by one who sees the truth behind the curtain, as it were. Preston is brilliant as Dobbs, making him congenial and likable; though not without a certain seediness. Mason, however, steals the show as the pathetic, mentally disturbed Malley. Delivering a beautifully realized, complex performance; he has rarely been better. Furthermore, David Rounds excels in the smaller role as the disillusioned Father Penny, bringing a touch of levity to an otherwise tense situation.

Engaging and intriguing, though ultimately a little underwhelming, Sidney Lumet's adaptation of Robert Marasco's 'Child's Play' has a lot going for it. The narrative touches on some interesting themes, while Gerald Hirschfeld's cinematography and the excellent sound design are atmospheric and evocative. The cast all give strong performances, especially James Mason, but the ending is anticlimactic. Turns out, unfortunately, it wasn't child's play adapting 'Child's Play' for the cinema.

Apparently at this exclusive Catholic prep school even the civilian teachers have to be officially celibate. In Child's Play the focus of the film is on an intense rivalry between a pair of civilian teachers who have no outside attachments, save for James Mason and his dying mother. So they indulge in this rivalry for the approval of the students. And Robert Preston who dusts off a bit of his Harold Hill persona from The Music Man is winning hands down.

Child's Play, a David Merrick Production on stage ran 342 performances during the 1970 season and starred Pat Hingle and Fritz Weaver in the roles that Preston and Mason essay here. Preston is a charmer as Professor Harold Hill was, but his charm is laced with malevolence. For reasons I'm not sure whether for money or prestige Preston turns the students against Mason, he wants Mason out to move up in some kind of seniority system.

Mason makes it real easy. A stiff demanding pedagogue he's Mr. Chips before Robert Donat's marriage to Greer Garson humanized him. He's way past the age of retirement, but other than a terminally ill mother this guy has no life. Going to teach gives him an excuse to get up in the morning.

Both these guys are a pair of real closet cases. Both are obsessed with the young male preppy kids they teach, Mason just does not know how to relate to them. Preston does and he uses his influence with them to produce some terrible consequences.

Caught in the middle of all this is new gym teacher Beau Bridges who once went to this school. He knows both men from his years there, but learns a whole lot more once he becomes a faculty member and learns disturbing stuff about both.

Child's Play is smartly directed and photographed by Sidney Lumet. Pay attention to some of the deep focus cinematography involving all three of the players I've named in joint scenes. All three register facial expressions that help move the story along immensely.

I think a lot was left out of the play coming over from Broadway, but still Child's Play is a fine film with great performances from the leads.

There's evil afoot in one of those boy's schools were the boys are all played by actors in their early twenties. It makes you wonder at what age pupils graduated from American high-schools. "Child's Play" was adpated from a successful Tony-award winning Broadway play and was directed by Sidney Lumet. It's certainly not one of his better films but it's a nice grisly entertainment nevertheless about the feud between two senior masters, (James Mason and Robert Preston, both terrific), and a seemingly inexplicable eruption of violence amongst the boys.

Basically, it's a high-class horror film with possible demonology lurking in the chapel and would be more effective if the 'boys' weren't so clearly young men. Beau Bridges is the new young gym teacher and former pupil torn between loyalty to Preston and sympathy for Mason and David Rounds is good as a fairly liberal young priest. It's nonsense, of course, but the cast give it a real kick and Mason, in particular, might convince you that you're watching something serious. Understandly it isn't much revived.

This is an excellent film. Unfortunately the word subtle, which applies to this film, is used as a negative by the only (at this date) other comment on "Child's Play." Subtle it is, and those who like character studies and evocative camera work, a sustained mood and a finely wrought battle between good and evil will be delighted. If you like the garbage that passes for horror in most of today's bloodfests and loud, non-stop, effects-driven films, well - don't bother.

Robert Preston and James Mason, two A-list actors, knew good material and both give performances that rank highly with the best of their careers. This film was directed by the great Sidney Lumet, and reveals what is usually best about Lumet's work: great acting, sustained mood, the ability to confine the action to one setting and exploit it for all it is worth, attention to detail and precise pacing that builds exactly as it should. This unheralded gem deserves a DVD release soon!

I confess, I've always loved this film since I first saw it decades ago. I was always amazed that with its strong pedigree, both behind and in front of the camera, that it seemed to be totally forgotten with no official release.

Needless to say, I was THRILLED when I heard that Olive was releasing the Blu-ray. I've had a fairly nice print that I got from television many years ago, but now it is awesome to have this unique film available on Blu-ray.

You pretty much have the general plot from the other reviewers here, so I won't waste your time on that. But, I will say that one of the primary things I really like about this movie, and that I like most about good Horror films, it is all about MOOD & ATMOSPHERE! Seriously, there is a very low-key but strongly oppressive mood over this film as these boys are mysteriously getting maimed. What is behind it...? Well, that is one of the things this movie (actually Sidney Lumet) does very well. And, that is really being vague and ambiguous about the source of the Evil that is happening. It is most definitely there and you feel it, you just don't quite know where it is coming from 😊

And THAT to me makes for a great film! I'll just leave it at that and say that if you are the kind of person who enjoys mood and atmosphere most in Horror movies like this, and appreciate an oppressive slowly building Evil, and you don't mind a Slow-Burn, low-key build up, there is a good chance that you may very well like it...