Schatten um Dominique

A wealthy wife is convinced that his equally wealthy husband tries to drive her mad by scary voices and haunting portents at their country mansion. After her sudden death, she seems to return to haunt the husband.

Predictable and fairly restricted all-star suspense shocker on the lines of "Les Diaboliques" with very occasional moments of "frisson".

The absolute most positive comment I can write about "Dominique" is that director Michael Anderson and his entire cast & crew remained 100% faithful to their initial intention of making an old-fashioned convoluted and atmosphere-driven "vengeance-from-beyond-the-grave" mystery thriller/horror. "Dominique" undeniably relies on plot clichés, stereotype characters and predictable jump-scares, but somehow it still stands as a respectable and potent semi-classic of the late 70s, and (correct me if I'm wrong) no true horror fanatic would ever criticize it entirely.

It's quite easy to list all the minor and less minor defaults of this production. Heck, I'm also guilty of jokingly referring to the title as "Dominique is Dull" instead of "Dominique is Dead". The pacing is incredibly slow, often on the verge of comatose even. Almost a third of the footage easily could have been cut as well, notably all Cliff Robertson's snail-paced trips through the corridor and down to the greenhouse to check whether or not his supposedly dead wife is bungling from the ceiling. Most of the supernatural gimmicks and tension builders are pretty weak and transparent (especially the self-playing piano) and the denouement honestly is quite easy to foretell, even if you haven't seen "Diabolique" and its four dozen of inferior imitations.

And yet ... it's utmost admirable, I think, that "Dominique" stubbornly and wholeheartedly persists in trying to disquiet you with minimal resources. Contrary to many other, similarly themed films, this one didn't cause me to go eye-rolling or hit the fast-forward button. A handful of sequences really are effectively uncanny, like the arrogant husband suddenly getting confronted with his own date of death on a tombstone, and some sub plots really are clever, like what's the dubious role of the doctor. It also helps, of course, that the cast exclusively contains extremely professional and experienced names. Cliff Robertson is terrific, and he receives qualitative support from Jenny Agutter, Simon Ward, Jean Simmons and even that lovely elderly Flora Robson. "Dominique" may be routine horror guff, but I daresay that I'm proud to have it in my collection nonetheless!

Creepy thriller concerning a selfish American businessman (Robertson) supporting his interests through a marriage of convenience to his wealthy English wife (Simmons), until she commits suicide as a result of his emotional bullying. Her instructions are for her will to be read on their wedding anniversary in a few weeks' time, and as that day draws nearer, visions, apparent apparitions and strange goings-on haunt Robertson to the point of virtual insanity. Convinced that his wife has returned from the dead, he enlists his new chauffeur (Ward) to exhume her body, not once, but twice, where he makes a shocking discovery.

Atmospheric, tense and suspenseful throughout, I found Simmons' portrayal of the emotionally crippled wife compelling and her 'resurrection' even more stirring. Gaping plot holes, contrivances and other poetic conveniences while no means forgiven, are somewhat disguised by director Anderson's flair for creating tension out of the limited material. The cast however has considerable depth, with veterans David Tomlinson, Jack Warner, Dame Flora Robson, and Ron Moody in a pivotal supporting role. Jenny Agutter, Judy Geeson and Michael Jayston are also prominent.

There's Hitchockian moments and more than just a little reminiscence of the similarly titled French classic "Les diaboliques" (1955), and yet despite the somewhat borrowed theme, I still found myself in the grip of "Dominique" and was rewarded with some heart-pounding moments. Not perfect, but entertaining nonetheless.

It begins with a well to do couple (Robertson and Simmons) at their home in Britain. Through the first portion of the film, you see that the wife seems to be having some memory lapses and might be headed for a nervous breakdown. However, you are unsure if what is really happening or if, perhaps, the husband is orchestrating it—like in the movie "Gaslight". In fact, for quite a while, I thought the film was a remake of this story. However, unlike "Gaslight", the wife kills herself and you realize this cannot be that classic film's plot. From here on, the husband suddenly begins experiencing many of the same manifestations that the wife experienced—and he, too, might slowly be going mad. What's next?

This film is a great example of a movie that is simply over-written. In other words, there are too many plot elements and twists. Because of this, the plot to drive the couple mad is overly complicated and presents MANY opportunities to establish that an outside person or persons are manipulating them. The plot depended too many times on the people reacting one way and if they'd reacted another (which was very plausible) the plan would have quickly come unraveled. As a result, there were several obvious plot holes that kept me second-guessing the writer. Additionally, at the end, there is a murder that simply made little sense. Add to that the amazingly over-restrained performances by everyone (especially Robertson) and you get a movie that should have been excellent but in actuality was only a time-passer. Not terrible but simplicity would have made this one so much better.

I sussed out who was in it from the start (no spoilers) but then watching whodunnits is almost never about who done it.

It's about atmosphere and acting: in these two departments the film, though dated, is very effective. The acting is particularly excellent with the cast of stars assembled, with Simmons and Agutter absolutely stealing every scene they're in. And Ward is pretty much off the scale.

Some particularly impressive atmospherics involving gravestones and exhumations communicating the terror felt increasingly by the male protagonist very well.

But the pace (editing) is so slow, it puts a bit of a spanner into the whole works.

I adore Jean Simmons and Jenny Agutter, and don't mind Cliff Robertson's masculinity hogging the screen.

But it's Simon Ward here who is the most successful piece of casting for the role. He has a unique facial structure, the eyes naturally conveying depths of hidden emotion and thought, and a sense of disdain for everything and everyone around him, and here they are deployed with deadly effect in the role.

Not the greatest thriller, but definitely worth a look for the performances alone.

Thanks Tubi for extending your range of classic offerings constantly.