All die netten Fremden

All the Kind Strangers is basically just your average made for TV seventies movie - in that it features an interesting base plot, and lets that fill the entire runtime without even attempting to do anything else with it. The result is adequate; though underwhelming. The film begins with a man driving through the woods alone. He encounters a young boy and offers to give him a lift home. Upon arriving at the boy's home, the man finds it inhabited by children; and because his car won't start, he decides to stay there for the night. However, it turns out that the kids have broken his car to make him stay with them as they want him to be their father. The film only runs for about seventy five minutes and doesn't provide a great deal of surprises along the way. Once the plot is laid out, we are left only with the task of getting to the end. The film does feature a good leading performance from Stacy Keach, who gets into his character well and receives good feedback from the likes of Samantha Eggar and John Savage. It all boils down to a rather strange, yet disappointing ending. Overall, this is a long way from being great; but it passes the time at least and I'd say it's just about worth a look.

The film does get a bit interesting - it hits a couple of lulls but that doesn't last long then it picks right back up again. There is a creepiness to these kids -- not like Children of the Corn creepy but more of a subtle creepiness to them.

Fun little trivia: The $60 shoes in 1974 would cost about $316 in 2019 according to the inflation calculator.

5/10

This is a surprisingly good made-for-TV thriller and it wins props for originality points. Stacey Keach plays a photojournalist, on the road for an assignment, which takes him into the woods of the rural south. A chance encounter with a young boy, who Keach sees carrying groceries down a desolate dirt road, leads him to the boy's home, nestled very deep in the backwoods. Once he is thoroughly "in the hollar," Keach's car breaks down, and he has no choice but to spend the night in the house of the young boy, whose three brothers and two sisters respond with eerie approval. What follows next is a strange and pretty cool story about a family of dangerous orphans, who entrap Keach and a woman in a perverse plan to reaquire surrogate parents. Despite his efforts to escape, Keach is unsuccesful, and he quickly discovers how clever and intelligent the kids' plan really is. (He also discovers that he isn't the first to be taken in by the group). Can Keach escape before it is too late? This is a story that, despite its perverse absurdity, could actually happen, I suppose, and the picture's scenarios are consistently interesting and unpredicatble. It is a good script and the cast all fit their roles well. Particularly good is John Savage (e.g. "The Deer Hunter"), who plays the group's oldest brother and de facto father figure. All in all, this is a pretty obscure, minor little film, but I'd recommend it to fans of 70's cinema, as well as anyone who enjoys a thriller involving kuntry folk. This one surprised me. (PS: In this same vein, I'd recommend the highly underrated "Hunter's Blood." It is OOP, but worth seeking).

All the Kind Strangers was one of the fifty films that came packaged in a box-set titled "Nightmare Worlds", and it was one of the rare films that wasn't science-fiction. Yet it probably has just as reason for being in the box-set as sci-fi flicks; it's got the premise, at the least, and from the description (wedged in with another movie on the one side of a two-sided disc) sounds like a cross between the Little Rascals and Deliverance. At least, that would be the first impression had it reached its potential. As it stands, All the Kind Strangers does keep a hold of its creepiness for a while, as Stacy Keach (playing well as a leading role, which he usually doesn't do) is a photo-journalist who picks up a little kid carrying a big bag of flour back to his home. Just a normal thing, it seems, to help the little critter out. But then it's a long trek through the backwoods, specifically through a creek, and then to a house where there are seven kids and one "mom", who really has been sort of kidnapped by the kids. He's kidnapped too, and made to be their dad as their parents are five-years gone. Dogs line the premises, and the pain kid Peter (John Savage) carries a shotgun. What to do?

There is actually probably a very good movie, even an extremely controversial one (maybe on par with Deliverance if not more-so) with the ingredients here. There's a whole power-structure element in place, the psychological unrest as Peter really is the head of the household- the kids don't know any better, least of all for wacky John (Robby Benson, maybe the most tongue-in-cheek kid actor of the 70s)- and how the kids, including Peter, *do* listen to Keach's 'dad' if he's forceful enough. And there's even subtext thrown in that is never quite cleared up with a mute girl in the bunch (obviously, as Frank Miller once wrote, grew up and filled out) who keeps on eying and making subtle advances towards her new father. This would actually be challenging in better hands, but unfortunately it's A) a TV movie, and B) in an odd way meant as a dark twist for the Little Rascals kid's club. So it ends up playing it safe with material that, in the end, becomes preachy and tacky as the kids all decide that it's better to give in instead of having a ready-made mom and dad at the helm.

Other things like the cars all drowned in the lake (and the fact that who-knows how many people have died is left up in the air), and little technical things with the production (i.e. do the kids really pay for the gas, and if not how come there are lights on in the house? do kids take care of candles that well?) Not to mention the length issue; at 74 minutes the holes are fairly abundant in the plot. But there are strengths here that do come out, even if seeing John Savage might inspire a "I believe in God" bit from Hair, as the acting is more than competent, and given how low the production values are the director gets a good amount of chills from the kids (awkward might be the way to say it) and chase scenes. It could make for a remake in good hands, exploring and altering some of the details. As it stands, it's an OK effort with an undercurrent that's sort of unique.

I really love TV-horror/thriller movies from the 1970s. They are short, straightforward and usually compensate in atmosphere and plot- ingenuity for what they lack in action footage or make-up effects. "All the Kind Strangers" is a decent example of such a 70s tale with a very murky and unsettling premise and a thoroughly unpredictable atmosphere of tension. Macho freelance photographer Jimmy Wheeler is driving through rural roads in his fancy and brand new convertible when he stops to give a lift to a 7-year-old kid carrying large bags of groceries. He quickly regrets this, however, as he ends up at the backwoods equivalent of the Von Trapp family with seven parentless children living in the middle of a swamp. Unfortunately, they don't sing of Do-Re-Mi and – under the eerie leadership of the oldest brother Peter – they have the nasty habit of forcing random helpful strangers to become their reluctant ma's and pa's. They already reverse-adopted the terrified Samantha Eggar as their mommy, and now they see the ideal role-model father in Mr. Wheeler even though he doesn't share their enthusiasm. "All the Kind Strangers" is very compelling and ominous throughout the first hour, with notably uncanny scenes at the dinner table or during the boat trip on the creek. The hopelessness in Stacy Keach's eyes, the fear in Samantha Eggar's eyes and the madness in John Savage's eyes are extremely realistic and make even the most hardened viewer feel uncomfortable. In fact, "All the Kind Strangers" easily would have ranked in the top 10 of greatest TV-thrillers of the 70s if only it weren't for the daft and utterly disappointing anti-climax. The bad ending alone costs this otherwise fine TV-thriller a mere 2 or 3 points in the rating.