Das Dunkel der Nacht

With an overall rating of just a bit over 3, I sure didn't expect much from this Christopher Lee and Peter Cushing collaboration. However, I was surprised to find this film was a lot better than I'd come to believe. Perhaps some of the reason the film has a lower score than the usual fare from these actors is that although the film has the usual supernatural angle, you don't learn about this until the end. Up until then, it just seems like a detective film about some nasty ex-con who is being sought be Scotland Yard. I could say more, but it would spoil the suspense.

Strengths of the film include a very novel script, generally good acting (though the ex-con is about as unsubtle a character as you can find), and nice location shooting. The biggest minus is that the thing just takes a long time to get going, though by the end of the film the whole thing is steaming full speed ahead.

Rich men are dying, with no especial connection save they are all trustees for a young girl. Colonel Christopher Lee thinks that's the connection, so he contacts Peter Cushing, because they haven't made a movie together in a month.

Diana Dors appear is this movie, looking a trifle pudgy, alas. She's the mother of the girl, fresh out of prison, ten years after committing a triple murder. Newspaper woman Georgia Brown is trying to get the trust broken, because everyone's in favor of mother love, aren't they? But why did a bus driver die, burnt to a crisp in a bus crash, when there was no fire?

It's a nicely produced movie, but it holds few surprises in its story for the modern viewer. The casting is pretty good, with Michael Gambon giving his second big-screen appearance, but the genre was getting pretty tired by this point.

The pairing of Hammer horror stalwarts Peter Cushing and Christopher Lee doesn't always guarantee a good time -- see Night of the Big Heat (1967) for proof of that. This film - the one and only from Lee's own Charlemagne Productions - isn't the pair's best work together, but it is far from the disaster that some would have us believe.

Lee plays Colonel Bingham, who teams up with eminent pathologist Sir Mark Ashley (Cushing) to investigate the suspicious deaths of several elderly members of the Van Traylen Trust, who fund the Inver House orphanage, home to Mary Valley (Gwyneth Strong), survivor of a mysterious bus crash that claimed the lives of three of the trustees. Prime suspect is Anna Harb (Diana Dors), Mary's estranged mother, ex-prostitute and triple murderess, who is so desperate to be reunited with her daughter that she would kill again if necessary. Mary is sent to back to the orphanage in Scotland for her own safety, but Harb follows, with Bingham and Ashley not far behind; what they discover at Inver House is far more terrible than they could have imagined.

Lee and Cushing put in commendable performances, attacking their roles with gusto and gravitas; in contrast, Dors overacts with ham to spare, her eccentric turn providing the film with a sense of fun. Director Peter Sasdy (Taste The Blood Of Dracula, Hands Of The Ripper) keeps the pace snappy and the mystery intriguing, delivering a surprising Psycho-style death of a major character a third of the way through, a terrific explosion to jolt the viewer out of their seat, the grisly discovery of a mutilated seven year old, and a shocking conclusion that has more than a touch of The Wicker Man about it (beyond Lee's presence and the remote Scottish location).

Despite the interest naturally fostered by co.starring Christopher Lee and Peter Cushing, it's the remarkable supporting cast including Fulton Mackay and a young Michael Gambon and a lot of vivid female characters (including a stylish Georgia Brown as the dogged newspaper reporter and Diana Dors in a brown wig in one of her eccentric later character roles; and Kathleen Byron, wasted as usual) that really captures the imagination

SLIGHT SPOILER COMING: There being nothing new under the sun, the final 'revelation' may be anticipated by anyone who remembers the Sherlock Holmes mystery 'The House of Fear' (1945), here given a supernatural tweak...

Odd and unusual but nevertheless highly imaginative British supernatural horror/thriller story, once more pairing the two legendary genre veterans Christopher Lee and Peter Cushing, this time under the skillful direction of Peter Sasdy. "Nothing but the Night" somewhat plays in a league of its own, as you definitely can't compare it to the extremely popular contemporary Hammer productions. I even daresay this is quite a unique piece of Brit-horror, which is probably why it required the constitution of a brand new production company, named Charlemagne, that didn't last very long afterwards. "Nothing but the Night" may be overly convoluted and full of irregularities, but it's really not a bad film and it definitely doesn't deserve the embarrassingly low current IMDb rating of 3.2 out of 10! Adapted from a novel by John Blackburn, the screenplay offers up a very ambitious and compelling mixture of mystery, medical horror, creepy country sides and typically British police work. The film is incredibly fast paced (I can't fathom that some of my fellow reviewers call this movie boring) and the plot is literally a non-stop series of red herrings and vague clues, desperately attempting to avoid that any viewer would figure out the climax too fast. Let me tell you straight away: you won't guess the full denouement no matter how clairvoyant you are, as multiple story aspects and twists in "Nothing but the Night" are simply too absurd and implausible for normal human beings to even consider. Once again, though, this doesn't mean it's not fascinating and entertaining to look at. The film opens with an immediate attention-grabber, as we're right away treated to grisly images of three murders looking like suicide. Police Colonel Bingham (Christoper Lee) later explains to his friend Dr. Mark Ashley (Peter Cushing) that all victims were trustees of a prominent but highly secluded orphanage on a small Scottish island. When one of the orphanage's children is hospitalized after a mysterious bus accident, the young doctor Haynes wants to investigate the girl's bizarre nightmares, but the influential Van Traylen Fund trustees prevent this. The girl's flamboyant and aggressive birth mother also wants to reclaim her, but the orphanage lies isolated and well protected a small island only reachable by ferry boats. Some abrupt plot twists work very efficient, whereas other red herrings are blatantly obvious. For example, we're supposed to believe that Anna Harb – the girl's real mother – is a complete psychopath, but that would just be too easy. Peter Sasdy maintains a sinister atmosphere throughout and the Scottish isle and countryside filming locations are stupendous. There aren't many bloody moments, but there's a fair portion of suspense and a couple of shocking insinuations. Other people claim that both Lee and Cushing are underused in the film, which may perhaps be a little true, but their characters are terrific and I swear I've seen films where their names were more shamelessly exploited for even smaller roles (like "Scream and Scream Again", for instance). Not a masterpiece of Brit-horror, but a worthwhile movie in case you're looking for something creepy yet different.