The Fantasist

It was made 13 years later (1986) and was marketed on video in the U. S. as a slasher film which it absolutely is not. I'm not even sure if THE FANTASIST was released in the U. S. theatrically and it is just now making its DVD debut there. Yes, there is a serial killer and a couple of women die but, that's not what the film is really about. The movie is set in Dublin and it deals with one woman's attitudes toward men and sex in then contemporary Ireland.

The central character of Patricia (Moira Harris) is a country girl who goes to Dublin to make her way and to escape her parochial family who have other plans for her. Although she is savvy enough to be wary of most men, she is still on the lookout for Mr Right. While there she becomes interested in an American writer (Timothy Bottoms) and then becomes the target of the "phone killer" who has murdered Bottom's wife along with several other women. Could it possibly be Bottoms and if it isn't then who is it?

Writer-director Hardy takes this scenario and invests it with observations on the nature of relationships from a woman's point of view. He also explores the darker side of sexuality as the titular character is obsessed with recreating a famous nude painting by Francois Boucher of Louis XIV's mistress (who happened to be Irish). This gives the film the elements of an Italian "giallo" but if you've come looking for a typical slice and dice offering than forget it.

As was evident from THE WICKER MAN, Robin Hardy has more on his mind than just a simple crime story. There are a number of eccentric, occasionally humorous touches including a truly bizarre spanking scene. It also has a hurried, unsatisfying ending. Still THE FANTASIST has something to say and should be seen for its social observations if nothing else. It's a hard film to categorize and, as such, will have a very limited appeal...For more reviews visit The Capsule Critic.

This film is supposed to be a thriller, but for more than an hour it's EXCRUCIATINGLY boring, despite the beautiful locations. Things become slightly more interesting in the final 10 minutes, which have a peculiar kinkiness. But the ending on the ship is typical slasher stuff.

I stumbled across this relatively obscure film on a satellite channel the other day, and was eagerly anticipating an enjoyable experience, having been a big fan of director Robin Hardy's previous film (the Wicker Man).

95 minutes later, I was disappointed, although the film does have some redeeming features.

I consider The Wicker Man to be a classic of its type, and certain aspects of that film are carried over into this one - the haunting music, the atmospheric locations, and especially the suppressed eroticism. Also the final twist at the end. But having said that, this film does come across as a pale imitation of its predecessor.

Due to the appalling treatment that was meted out to The Wicker Man by the film industry powers, Robin Hardy retired from the business for over 10 years, and boy does it show here. Some of the editing is appallingly choppy, the characters' dialog is at times incredibly trite, and some of the scenes just don't gel. Examples of the latter are the initial murder, where the victim appears to offer no resistance to the knife wielding assailant, and the relationship between Moira Harris and Timothy Bottoms, which in one scene has her berating him for making pervy phone calls to his wife. then in next scene she discovers his wife's murdered body, and in the very next scene has her defending him aginst police suspicion? Duh???

Another scene that is particularly laughable is the night club scene where Harris and Bottoms meet. The moment when Timothy Bottoms raises his fists to the Mr. Halitosis character almost had me laughing out loud.

Moreover, there is virtually no mystery as to who the main pervy phone caller is, as the voice is easily identifiable as one of the main characters in the film.

However, it's not all bad news. As in The Wicker Man, there is an air of Catholic sexual repression which pervades the whole story, and is handled on the whole very well. I'm not Irish or Catholic, but I found it believable and not just because it gave the film an excuse to show a few bare breasts.

It's just a shame there couldn't have been a bit more suspense to go with it.

The plot jumps around a bit so you really don't understand the connections between various characters, and the movie is quite illogical at times. However, there are enough freaky moments to make this worth viewing. "What the Hell?!" popped into my mind many times- in a pleasurable way. The dialogue is great as well. If you want an interesting experience, bear with this VERY odd one.

In the 38 year period between his first film, folk horror classic The Wicker Man, and his last, The Wicker Tree, director Robin Hardy only made one other film: The Fantasist, a bizarre slasher thriller set in Dublin, Ireland. It's not a good film - the characters are too eccentric, the script is incredibly silly, and the pace is very slow - but it's still worth watching just to immerse yourself in the sheer bizarreness for an hour and a half...

Moira Harris plays lovely 'Oirish lass Patricia Teeling, who leaves the countryside for a teaching job in Dublin; her move coincides with a spate of murders, the killer at first phoning his victims to try and bore them to death with terrible poetry, but opting to stab them in the back when his dreadful recitals fail to do the trick.

Meanwhile, Patricia is looking for the man of her dreams, but only seems to attract oddballs: a hairy man with halitosis (in a nightclub where Level 42 are the house band!); weirdy-beardy English master Robert Foxley (John Kavanagh), who gargles wine loudly in restaurants and wants to rub Patricia's tummy; and American Danny Sullivan (Timothy Bottoms), who pretends to be an Albanian osteopath and talks dirty to his wife over the phone.

After Patricia discovers Danny's wife with a knife in her back, she starts to receive phone calls from the maniac; police inspector McMyler (Christopher Cazenove) investigates.

The nonsensical murder mystery plot makes the film feel a bit like an Irish giallo at times, especially the scene in which Patricia escapes from one of the suspects by climbing out of a window and crawling across the roof of the building (very Argento). However, Hardy's inept handling of the film in general makes it hard to believe that it was directed by the same man who gave us the impeccable The Wicker Man. The finalé is particularly strange, the killer trapping Patricia in his photographic studio, and forcing her to strip so that he can use her bare ass as a set of bongo drums.

So, technically speaking, the film is fairly terrible, but for those who enjoy bad films, it could prove quite entertaining.