Das Geheimnis der Wendeltreppe

The original The Spiral Staircase, made in 1945 in black and white by director Robert Siodmak, was one of the finest killer-on-the-loose-in-a-spooky-mansion films of all-time. This 1975 remake is a very poor attempt to update and remake the original. There is less tension this time around, as director Peter Collinson allows things to proceed at a sluggish pace. Even the performances are weaker, despite the fact that this film has a comparatively star-studded cast for its era.

Helen Mallory (Jacqueline Bisset) has been unable to speak since she witnessed her husband and child being killed in a house fire. Her doctor, Dr Rawley (John Ronane), has tried for several years to help her recover her speech but without success. He is very concerned for Helen's safety, as a serial killer has recently been at work in the city and all the victims share one thing in common – they are all disabled in some way. Helen goes away to her uncle's nearby mansion, which also doubles as an institution for the handicapped. Here she finds herself in the company of her uncle Joe Sherman (Christopher Plummer), his secretary and lover Blanche (Gayle Hunnicut), angry brother Steven Sherman (John Philip Law), a strict nurse (Elaine Stritch), housekeepers Mr and Mrs Oates (Ronald Radd, Sheila Brennan) and the ill, old bed-bound Sherman mother (Mildred Dunnock). A ferocious thunderstorm plunges the house into a power-cut, and before long it becomes apparent that the serial killer who has been preying upon handicapped women is one of those trapped inside the mansion. It is now Helen who finds herself next on the killer's list, unless she can find a way to survive….

This is such a reliable, some might say "archetypal", story that all it needed was some thoughtful lighting and a well-judged sense of pace in order to work. But sadly director Collinson has spent too much time setting up pointless and weird camera angles instead of concentrating on the basics of suspense. If he had gone for the afore-mentioned thoughtful lighting and the better-judged sense of pace, this would have emerged a half-decent remake. The actors seem indifferent towards the material and give performances way below their best. Bisset has the difficulty of contending with a wordless role and is nothing more than average in the part; Plummer looks rightfully bored as the professor; Law snaps and snarls ineffectually as his bad-tempered brother; Dunnock spends most of the film acting drugged as the poorly old mother of the clan. For a good hour or so, very little happens in the film and one invariably finds oneself staring vacantly at the screen, waiting with misplaced optimism for a flash of suspense. Not even the music by David Lindup manages to generate any excitement or atmosphere. When the killings finally begin and Helen goes on the run in the dark passages of the house, trying to escape from her murderous assailant, the sequence is done rather flatly with little in the way of true excitement. If you're planning on watching a version of The Spiral Staircase some time soon, the best advice I can give is that you stick with the vastly superior original!

As a child, the 1946 version of this movie was one of the most terrifying I had ever seen...and I loved scary movies. Years later, it still scared the hell out of me. This re-make is a travesty. I don't know what the director and cinematographer were trying to achieve, but it wasn't The Spiral Staircase. Apologies to Christopher Plummer, Mildred Dunnock and Elaine Stritch for having to endure this drivel. Times must have been bad then and paychecks much needed. If you want to see a brilliant horror film, see the original.

I've only seen one other version of this story--Robert Siodmak's 1946 adaptation--but boy, does this one suffer by comparison. Whereas Siodmak's vision is suspenseful, atmospheric, and shadow-soaked, Collinson doesn't bring much to The Spiral Staircase apart from '70s made-for-TV cliches like crash-zooms and POV shots from the killer's perspective, with dreary cinematography straight out of an early episode of Columbo.

"GASP! Oh, it's only you! You startled me. Say, what are you doing down here? No...don't come any closer! No...no.... NOOOOOOOOOOOOOOOOOO!" *gets murdered*

The performances are mediocre. Christopher Plummer is one of those actors who can turn in amazing work when he cares. Here, he doesn't seem to. Jacqueline Bissett is, frankly, quite forgettable in the lead role. When actors don't have dialogue to lean on, they sure had better be charismatic and expressive; as the mute Helen, the wooden Bissett is just not up to the challenge. Mildred Dunnock, as the family matriarch on her deathbed, is probably the strongest member of the cast.

What else is there to say? It's a mess, and not a very interesting one. Helen's backstory, in which her husband and daughter died in a fire, doesn't add up to much, and the flashbacks are so ridiculous they're hard to take seriously. The music is standard. I can't take pride in having guessed the identity of the killer early on, but I think I would have guessed it just as easily even had I not seen the 1946 version. The best idea in the movie is a sequence (I don't remember if this was included in prior versions and haven't read the novel) in which Helen, being stalked through the house by the now-unmasked killer, finds that Mrs. Oates, the housekeeper, is unable to help her--not because she is dead or incapacitated, but merely because she is too drunk to take the events seriously.

In 1945, a suspenseful classic film called "The Spiral Staircase" chilled audiences with its story and atmosphere. Set in the beginning of the 20th. Century, it told the story of the beautiful and mute servant of a wealthy, elderly widow who's threatened by a serial killer of disabled women. Here, the story has been updated to the present, which meant that the filmmakers didn't have to spend money on costumes and sets to reflect the time it took place. The overall plot remains the same, but the flat direction and script causes it to be about as suspenseful as an episode of "Murder She Wrote." There are a few red herrings as we wonder whodunit, but it doesn't make us care. It's not really a bad movie. It features a cast of starts who were big back in the day, so the acting is satisfactory. The mansion where the story takes place is rather baroque and makes a pretty good setting. And the original story remains excellent. The problem isn't that the film itself is terrible, but that given the quality of the source material and the original film, it's a major disappointment.

Somewhere near the climax of this film, the killer states - and I quote - "I'm sorry, but there's no place for imperfection in this world". Well, if this were true, "The Spiral Staircase" itself never would have seen the light of day. That makes, I guess, the moral of this story: let's all try to be a little more tolerant and nicer to each other. Although another moral could be: if you need to recover from a mental trauma, have someone try to strangle you.

"The Spiral Staircase" is a remake of the sublime 1946 suspense classic with the same name. Or maybe it's a completely separate adaptation of the same source novel by Ethel Lina White, I'm not really sure of that. Fact remains that, of the two films, this 1976 version is definitely the weakest link, and a disappointingly tame 70s thriller altogether. The opening sequences is more than promising, though. A blind but stylish blond woman is rudely executed in a tunnel whilst walking her guidance dog. We hear from the police she's already the fifth victim of a sadist serial killer who exclusively targets disabled women. At this point, I was still anticipating a phenomenal thriller. Why shouldn't I? Everything seemed to be there, including a great cast (Jacqueline Bisset, Christopher Plummer, John Philip Law, Sam Wanamaker, the ravishing Gayle Hunnicutt), a more than talented director (Peter Collinson of "The Italian Job", "Open Season" and "Straight on till Morning"), a shivers-guaranteed premise, terrific settings and conditions (stormy night, big mansion full of suspects) ...

So then, what went wrong? I honestly don't know, in fact. What follows after the good intro is a long and dull hour without any action, suspense or emotion whatsoever. When the bodies do eventually start piling up, the murders are tame, bloodless and working towards a predictable finale.