Venganza diabólica

Maniac is one of the lesser known of Hammer's "psychological thrillers" made in black and white around the 1960's. It's not fiendishly clever enough to be really memorable but it does have a few interesting twists. Basically the plot sees Kerwin Mathews stranded in a small French town where he books into a hotel and starts to feel attracted to the owners sexy young step-daughter. Soon after this, he also starts feeling attracted to the more mature but still sexy step-mother as well! Apart form this love triangle, there is a further problem, in that the missing family member in this scenario is the father, who is currently locked up in an asylum for a violent blow-torch murder committed years ago…now but he wants out, and our hero is about to be roped into aiding in his escape! The film doesn't hang together very well for the beginning hour or so, sadly mainly due to Kerwin Mathews' wooden performance. Seeing him flirt with the daughter and then casually drop her and turn to her mother left me feeling quite disconnected from the plot as I found him a very unlikeable character. However when the plot to spring the insane killer gets going, things get to be more fun, and its after this point that a few nice twists start being revealed. I didn't guess the ending, which I am glad to say.

The movie is nicely shot, and makes a lot of use of it's location, with some very nice location filming, especially a very odd ruin/cave which features in the finale. Although why it's set in France at all is of no consequence, they really could have used the exact same plot and just stayed put in England. Anyway it's nice to see these old movies again, and luckily this is out on DVD. It's worth a look.

If Hammer movies had been released the same way as vinyl records "Maniac" would be a typical B-side effort; meaning it's an extremely low-keyed, low-budgeted and nearly forgotten little black-and-white thriller that understandably stood in the shadows of the studios' contemporary Grand-Guignol horror productions, like the Frankenstein cycle starring Peter Cushing and the Dracula series featuring Christopher Lee. There are quite a bit of hidden treasures to discover amongst Hammer's modest thriller productions of the 1960's ("Scream of Fear", "Hysteria" …), but sadly "Maniac" isn't the studios' – or writer Jimmy Sangster's – finest piece of work. The film nevertheless opens very promisingly and provides a fairly large number of slick and unpredictable plot twists during the grand finale, but everything in between is dull and incredibly uninteresting. But what a great opening! In the usually quiet and peaceful French Camargue, a father catches the rapist of his 15-year-old daughter in the act and promptly extracts his bloody vengeance with a blowtorch! Hell yes! Four years later, the man – Georges - resides in a mental asylum while his gorgeous wife and astonishing daughter both fall in love with the traveling American painter Jeff Farrell. In return for his wife, Jeff agrees to help Georges escape from the institution and out of the country. But the plan goes horribly wrong and the blowtorch will have to be used some more! The basic plot is ingenious and suspenseful enough, but the 90% of the film revolves on the dire and slowly unfolding triangular relationship between the American, the mother and the daughter. The "maniac" in question also doesn't really deserve to be referred to as a maniac, as he doesn't come across as very menacing and makes a couple of really dumb moves during the climax. Still, the killer's choice of weapon is original and Michael Carreras occasionally generates a tense and unsettling atmosphere. "Maniac" is reasonably interesting material for Hammer fanatics, but not exactly recommended viewing.

Maniac is one of those rare Hammer films, a truly suspenseful horror. Its wonderful to watch, and so much better in widescreen. The unseen story intrigues, where the visual whets the appetite. A truly twisted story of intrigue and unrequited love, with a macabre twist that could only come from the studio that bred Christopher Lee and Peter Cushing as the ultimate horror team.

Although not as good as some of their other work, nevertheless, I was kept guessing as the plot became more complex, and enthralled by the scenery and style.

What is more, it is a contemporary film (well, 1963) and set in modern France, with real French actors!

A Hammer production, filmed at M.G.M., and released through Columbia. Sound confusing? Well, so is the plot to this attempt at out-psycho-ing "Psycho".

Kerwin Matthews is actually pretty good, in this tale of an American artist visiting France, who gets mixed up with both a young woman, and the woman's stepmother (notice she's a "stepmother"; hint, hint, wink, wink). For some reason I had an easier time believing Matthew's interest in the young woman, but not so much in her stepmother (whose high painted eyebrows, and puffy bouffant hair reminded me of Divine). Along the way Matthews learns of the older woman's husband, and how he committed a crime trying to protect his daughter years before. They try to help the husband escape from an asylum (so they can be together), and then the confusion starts.

Though the location footage, and stark black and white photography help this film create a good atmosphere, the direction is somewhat muddled, as is the dialogue, which at times I found difficult to follow. The French accents, in addition to some questionable dubbing make it hard to understand what they are saying. When I could understand the dialogue, it seemed forced and elementary; characters having to explain things that just happened, to further the story (and make sure that we get it).

Overall a slow start and a bunch of interesting twists in the latter half, but only a couple mildly startling moments. I found myself rather unsatisfied at the end. Perhaps this would have benefited by being directed by Freddie Francis...his collaboration with Jimmy Sangster that same year, for "Paranoiac", produced a much better film then this is.

Maniac is directed by Michael Carreras and written by Jimmy Sangster. It stars Kerwin Matthews, Nadia Gray, Lillian Brouse, Donald Houston and George Pastell. Music is by Stanley Black and cinematography by Wilkie Cooper.

Vacationing in the Carmarque region of France, American artist Jeff Farrell (Matthews) gets more than he bargain for when he becomes romantic interest for mother and daughter Eve (Gray) and Annette (Brousse) Beymat...

Out of Hammer Film Productions, Maniac is one of a number of psychopath themed thrillers that followed in the footsteps of Alfred Hitchcock's Psycho. Filmed in black and white on location in Caramarque, the film opens with a tremendous whack as young Annette Beynat is abducted on her way home from school and raped (off camera) by the side of the road. This crime is witnessed by a local man who fetches Annette's father who promptly captures the rapist and gets medieval on his ass with a acetylene torch (again off camera). It's quite an opening, but then the film settles into a leisurely pace for the next hour as Carreras and Sangster build their story in preparation for a big finale. Then things get tricky, and I'm not just talking about for handsome Jeff Farrell...

Realising they have gone for a "major" slow build and are desperate to add some added bite into what was becoming a bona fide sub-genre of thrillers, the makers cram so much into such a short space of time it collapses under its own weight. We know there's going to be a twist, the whole story is geared towards this fact, but they instead keep twisting, and twisting until it no longer becomes interesting. While the actual finale is something of a damp squib. There's a big problem with the location as well, Carreras' flat direction is unable to draw anything substantially atmospheric from the locale. True, a chase and reveal at the climax gets a splendid back drop in which to unfold, but it's a rare moment of inspiration and you are kind of taken out of because of piecing together the threads and implausibilities.

It's a very frustrating film, one where the usually great Sangster over reaches himself and Carreras doesn't come up to the standard of Terence Fisher or Freddie Francis. It holds the interest, is decently performed, has good production value and is fleetingly attention grabbing, but this should have been much much better. Both visually and with plot machinations. 6/10