Le Tunnel de la peur

It's a shame that while Fragment seems to be a latent classic, what frustrates is Hemmings' rather offbeat performance early on, rather at odds with the style and ambiance of the film. Also, the plot seems to be missing elements which were either cut, not filmed or deliberately left out to add to the jumbled nature of Tim's disintegration. What is left is a paradigm of paranoid perfection with Tim's existential fate rendered powerless in the face of the crises his alternate path's absence creates. His brain develops as many holes as he may have put in his arms, and he eventually disappears down a rabbit hole part Hitchcock, part Kubrick, part Antonioni. The supporting cast are all exceptional with such household faces as Daniel Massey, Kenneth Cranham, Arthur Lowe and Philip Stone. Director Safarian was subsequently to make his best film Vanishing Point, placing Fragment as the nearly man in the careers of practically everyone involved. If you enjoy your movies off centre and with a focus on style over substance, without paying consideration to tedious concerns like comprehensibility then you will find much to like here.

Fragment of Fear is a film that has somehow slipped under the radar since its release in 1970 and that's a real shame as while the film does have a few narrative problems; this is excellently produced and well worked mystery thriller that really does deserve to be more seen. The film is halfway between a murder mystery and a psychological thriller and director Richard C. Sarafian gives both halves of the film equal credence as the focus is stretched across the central character's questionable mental health and the murder of his aunt that he is investigating. The central character is Tim Brett; he's a reformed drug addict living in Italy. He returns to London when his aunt is found murdered and begins asking people who knew his aunt questions. It's not long before strange things start happening to him; his flat is broken into, he receives a letter that was written on his own typewriter and gets strange phone calls. It soon transpires that someone doesn't want Tim investigating. But naturally, considering he was a drug user, nobody will believe him...

Some have labelled this film as a British Giallo; I don't agree that such a thing exists personally, but Fragment of Fear does feature some staples of Italy's finest type of film. The murder mystery is a given, but we also have an unseen killer and adding to that is the fact that many Giallo's feature a lead character with a fractured state of mind. The film is lead by the great David Hemmings who puts in a good performance. I was unsure of how he would across as a former drug user given his debonair screen presence, but he actually fits into this role really well and is not hard to believe. Director Richard C. Sarafian keeps the film streamlined and the action focused on the mystery which ensures that Fragment of Fear is always interesting and entertaining. The film gets more exciting as it goes along and it all boils down to a good ending that provides a nice twist and also manages a bit of ambiguity. Overall, it's a real shame that this film is so obscure as it deserves a wider audience and hopefully it will soon be picked up for a DVD release. Recommended if you can find it!

An intriguing thriller with a fine, bewildered performance from David Hemmings. Unfortunately, the film overdoses visually in bizarre for bizzare's sake with a very unsatisfactory ending.

I thought that this was a brilliant thriller. Hemmings's character is the perfect foil, an admitted addict. He is like a mute who cannot scream at the horror enveloping him. Paranoia and fecklessness bounce off a genuine conspiracy. The tension is almost unbearable.

I felt this could have been so much better and began to temporarily tire of it somewhere around the halfway mark and then it lifted and ran pretty well to the end. David Hemmings seemed a bit limp and Gayle Hunnicutt almost asleep but then maybe it was the erratic script. I guess there is also the problem where a film is going to have different levels of reality that not all can be made too transparently clear. There is a wonderful cameo from Wilfred Hyde-White and things certainly pick up with the appearance of Daniel Massey and Arthur Lowe. Apart from the dialogue being rather lacklustre at times and some scenes going on a tad too long, the music is completely wrong. I have seen the score by Johnny Harris highly praised and possibly outside of the film the jazzy music is fine but here it is too loud, too obvious and basically, bloody annoying. Despite all this, the film remains likable enough and certainly worth a look.