Muerte en la noche

When was an eleven year-old child, Janet witnessed her insane mother stabbing her father to death on their bed. Six years later, Janet (Jennie Linden) is a wealthy teenager outcast in a boarding school afflicted by dreadful nightmares and fearing to have inherited her mother´s insanity. After a series of nightmares, her teacher Mary Lewis (Brenda Bruce) brings Janet home and she is welcomed by the family chauffeur John (George A. Cooper), by his wife and housekeeper Mrs. Gibbs (Irene Richmond) and by the beautiful nurse Grace Maddox (Moira Redmond), who was hired as a companion by her guardian Henry Baxter (David Knight). However Janet continues to have nightmares with a woman (Clytie Jessop) with a scar on her face and wearing a white shroud wandering in the house and stabbed on her parents´ bed. After trying to commit suicide, two doctors and Henry summon Janet to the living room to decide whether she should go to an asylum. When Henry brings his wife to the room, Janet sees the woman with scar and stabs her to death. She is sent to an institution and soon a diabolical plot is disclosed. What will happen next?

"Nightmare" is an underrated and unknown thriller by Hammer, with a great story of greed and insanity. The plot is predictable but also engaging. The black and white cinematography and the camera work are magnificent. Jennie Linden never convinces as a teenager but the rest of the cast is excellent. The hysterical behavior of women on the 60´s is annoying but a reality in those years. My vote is eight.

Title (Brazil): "Cilada Diabólica" ("Devilish Entrapment")

I've been a fan of Hammer horror for a while, and have only recently discovered this whole new side of theirs. Hammer have become synonymous with fun horror films, but their serious little black and white flicks show that they're certainly not limited to doing just what we know they're good at! Like Freddie Francis' Paranoiac a year earlier, Freddie Francis' Nightmare works through it's thick macabre atmosphere, tight plotting and great acting performances. The film is also very paranoid, which helps you to get under the skin of the plot and into the heads of the characters. The film starts off following young Janet. Janet's mother stabbed her father to death on her birthday many years ago and has spent her life in an insane asylum ever since. Janet is now having horrible dreams of her mother, and fears that she may go the same way...but after being sent home, her problems really start. The plot for this film is odd because once we reach the half-way point, it makes a full turnaround and we begin following two of the smaller characters from the first part of the film.

The second half of the story is definitely more interesting than the first, so the switch is a good thing as far as I'm concerned. This film appears to have been an obvious influence on Pete Walker's exploitation flick 'Frightmare', as the two follow pretty much the same theme. Hammer's version of the story is far better, though. The ensemble cast here are excellent, with everyone giving a terrific performance. Jennie Linden is convincing as the young girl being terrified by her dreams and more than does justice to the role. The greatness of the plot can be summed up by the fact that I often find myself giving low ratings to Hammer's black and white films, simply because I love to see the colours that Hammer do so well. This film is so professionally handled, however, that the lack of colour doesn't harm the film at all - and actually helps it. The atmosphere would never be the same in colour, and the colours are made up for anyway by the wonderful use of lighting. On the whole, this isn't one of Hammer's most important films - but it is a very good one, and I highly recommend it! Just one thing to note...it's not recommended that you watch this film with a headache - there's a lot of screaming!

One of Hammer Films' best psychological-shockers features a marvellous British cast, great black and white cinematography, and solid direction by veteran horror filmmaker Freddie Francis. Like so many of Hammer's psychological scare flicks, the plot-within-a-plot owes much to the 50's French classic DIABOLIQUE, but this is still a moderately creepy little thriller.

During the 1960s, Hammer would sometimes counteract their lavish color Gothic horrors with some effective black & white psychological thrillers; this is one of the latter type.

Moira Redmond plays Grace Maddox, a nurse/companion hired by attorney Henry Baxter (David Knight). Henry is guardian to a very fragile teen aged girl named Janet (Jennie Linden), who as a child witnessed her mother snap and kill her father. Plagued by nightmares, Janet travels home from school and continues to be haunted by visions of a scar faced woman in white (Clytie Jessop).

It would be better for me to not relay too much about the plot, so that potential viewers can experience the twists and plot developments fresh. It manages to avoid being particularly predictable.

Written and produced by famed Hammer scribe Jimmy Sangster, "Nightmare" is good fun, although I don't know if the screenplay would hold up under any intense scrutiny. Still, it is quite entertaining, and slickly directed by ace cinematographer (and sometime director) Freddie Francis. It's got plenty of atmosphere, especially in the opening scene, and Francis works well with the D.P. on this show, John Wilcox. The music by Don Banks is excellent.

The cast is full of solid actors but no major stars. Brenda Bruce as kindly teacher Mary Lewis, George A. Cooper as chauffeur / gardener John, Irene Richmond as housekeeper Mrs. Gibbs, John Welsh as a doctor, Timothy Bateson as a barman, and Elizabeth Dear as the younger incarnation of Janet round out the credited players. The film ultimately belongs to those performers who are required to act out stress and hysteria; they're utterly convincing.

A worthy viewing for any Hammer fan.

Seven out of 10.

The legendary British Hammer Studios perhaps spent most of their time exploiting classic horror stories through numerous sequels (EIGHT entries in the "Dracula"-series, SEVEN misadventures of Baron "Frankenstein") and serving up other grotesque monster-mash movies, but they also produced a handful of genuinely convoluted psychological thrillers in the likes of "Diabolique" and even Alfred Hitchcock's "Psycho". These obscure films (apart from "Nightmare", there's also "Hysteria", "Paranoiac" and "Fanatic") may not be very popular by today's standards, because they're not that bloody and don't have highly recognizable names in the casts, but their scripts are extremely engaging and often give insightful information regarding the darkest corners of the human mind. "Nightmare" is basically another simplistic story about greed and conspiracy, but the imaginative elaboration – courtesy of Hammer regulars Freddie Francis and Jimmy Sangster – makes it a compelling mystery oozing with a Gothic atmosphere. The intro alone is quite petrifying, as it shows an uncanny lady luring her own daughter into a morbid asylum. We then learn this is a recurring dream young Janet suffers from ever since, on her eleventh birthday, she witnessed how her mother killed her father with a kitchen knife. Since Janet's fear of inheriting her mother's mental illness becomes uncontrollable, her teachers at the boarding school decide to sent her back to the parental home under the supervision of the family's attorney Henry Baxter and the charming young nurse Grace. Back at the estate, someone deliberately intends to push the emotionally vulnerable young girl over a mental edge by carefully re-enacting the events of that traumatizing night. Whoever it is attempting to harm Janet; they may succeed but they will also be punished for it! Jimmy Sangster neatly divided his screenplay into two equally strong chapters, one revolving on the conspiracy against poor Janet and the other focusing on the well-deserved downfall of the villains. Especially the second half of the film is terrific, since it's dealing with a fairly new and innovative theme. Usually in these psychological thrillers, the screenplay just builds up towards one complex climax, but there's two in "Nightmare". The plot twists and red herrings are cleverly executed and there are several moments of genuine suspense. The film also benefices from a superb black and white photography as well as excellent locations, like the old country house and the aforementioned images of the eerie asylum. The acting performances are a bit wooden, though. David Knight fails to impress and Moira Redmond is unable to carry the film on her own as soon as the other female lead – Jennie Linden – disappears from the set. Highly recommended to the more experienced Hammer fan.