Le monstre des oubliettes

A tale of sibling overprotectiveness taken to horrifying extremes, the 1970 British film "The Beast in the Cellar" introduces us to a very unusual pair of elderly sisters indeed. When we first meet Joyce and Ellie Ballantyne (played, respectively, by the great English actresses Dame Flora Robson and Beryl Reid), the two are in quite a flustered tizzy, as a wild animal has started to kill off some young soldiers at the military base near their isolated country home in Lancashire. The authorities suspect that a leopard is to blame, but when the two aging biddies realize that "he has escaped from the cellar"...well, let's just say that they know better. And the less said about the titular beast, the better, I suppose, for those potential viewers who somehow may not have heard.

Anyway, "The Beast in the Cellar" is something of a mixed bag, at best, and certainly not abetted by its DVD presentation. The film's main strength is unquestionably the most impressive performances turned in by its two leads. Robson's terrific portrayal was not a surprise to this viewer; I've been a fan of hers since seeing her decades ago in the great 1940 Errol Flynn swashbuckler "The Sea Hawk," in which Flora's Queen Elizabeth practically steals the show. I had not previously encountered Beryl Reid anywhere before, however, but she was so very good here that I am now inclined to seek out more of her work; her performance in 1968's "The Killing of Sister George" is supposed to be especially good. The acting turns by these two old pros aside, however, "Beast" does not offer too much to the casual viewer. It is never especially scary, or even suspenseful, and although the beast's attacks are somewhat gory, they are shot in such a dark and frenzied manner that the viewer cannot make out much. Composer Tony Macaulay's theme song for the film is eerie and excellent, but much of his incidental music seems out of place, and even non sequitur at times. James Kelly has directed his film in a fairly pedestrian manner, with little style to speak of, and his picture drags woefully in spots. Perhaps the uncut British version of the film, at 101 minutes, would be an improvement, but the 87-minute American cut seems to be missing...something. If ever a picture deserved a loving restoration! As suggested above, the DVD offered for us Yanks is a miserable-looking affair, with a scratchy print, lousy sound and many nighttime scenes rendered almost completely black on the small screen. Seeing "Beast" back when in a theatre must have been a completely different experience; it can only have improved what is, in essence, a highly interesting albeit flawed film. For this viewer, the most interesting aspect of the picture is how our opinion of the two sisters keeps changing as the film unreels. As in 1962's "What Ever Happened to Baby Jane?," our perception of which sister is more rational and which is more batty--which is more sympathetic and which is more to be condemned--is subject to fluctuation as the secret of their history is revealed. In the film's best scene, Ellie does reveal all to a flabbergasted police superintendent, and it is a story both moving and tragic, and fully detailing this most unusual family affair. Having a loving and caring sister is one thing, but heaven forbid that you ever get one like Joyce or Ellie Ballantyne!

A soldier walks alone in the ever darkening sunset. Suddenly he is attacked by a creature. You know this because the camera is shaken around, there is disjointed screaming, and the same photo of a bloody slash mark is subliminally flashed. This was obviously to avoid too much editing by the censor, but I immediately thought, "Great, a 1970's crap horror movie. Worth watching" Then the laid back, easy-listening trumpet title tune put the icing on the cake - more cocktail lounge than horror film it is immediately at odds with the theme of the film. After the intro, the usual chapter with the detectives investigating the incident scene. You don't actually see the body, but the contrived commentary by the detectives gives you a good idea of its condition. "Hmmmm, deep lacerations to the face and body made by talons, I'd say." You get the picture. This thorough off the cuff autopsy by the detectives gets them off on the wrong foot by making the assumption that it's a Panther.

Apart perhaps from the two leading actresses and T P McKenna, there is little evidence of any real acting. The soldier that keeps an eye on the two old dears was probably a real soldier - he appeared to be reading from idiot boards such was his woodeness. However, the story does get a bit more involved and at times seems well written, so you shouldn't judge this film by the first amusing half hour.

Rating: 5

Good atmosphere - soundtrack, film technique, creepy "not what they appear to be" characters - marred by muddled screenplay. Poor continuity. Opportunities with characterizations missed. Not an original idea, done better elsewhere. Mistitled - alternate titles describe movie better. "Beast in the Cellar" sounds exactly what it tries not to be: a '50s drive-in throwaway. "Whatever Happened to Baby Jane" Brit spinster wannabe description is apropos.

This latter day Tigon film used to be on the telly all the time when I was young. Me and my sister thought it was great! It doesn't seem to have all that good of a reputation though but having saw it for the first time since way back when, I can safely say that I still like it! It centres on a couple of elderly sisters who live together (Beryl Reid and Flora Robson) who keep their deranged brother in the cellar; he gets out and starts killing soldiers from the local training base. The two central pensioners are pretty good value and it has a sense of place and atmosphere to boot.

Not half as bad as some make out and if as is said it went out on a double bill with 'Blood on Satan's Claw', I reckon that was pretty good value. This doesn't have the dolly birds and swinging London paraphernalia but instead two solid performances from Flora Robson and Beryl Reid more than compensates. The kills are surprisingly bloody, the situation with the two spinsters well done and although the final explanation is a bit wordy and prolonged but at least by the end we are still interested to know just who was the occupant of the cellar. Not as jolly as a lot of Tigon product and maybe the better for it for a change. More than a little creepy, not least for the way the old ladies seem, effortlessly to change roles, causing us to rethink what we reckon is going on.