Asylum

Linking story: this was one I had for some reason missed out on a number of times on TV, and I'm certainly glad I've watched it now in this definitive DVD edition; it has perhaps the best linking narrative of the three Amicus anthologies in the set, with Moussorgsky's "Night On Bald Mountain" music (to say nothing of a remarkable sequence of shots where the protagonist, and us with him, is mesmerized by a number of disturbing illustrations that are lined up on the walls along the asylum staircase) effectively setting the scene for its rather weird psychological concept that someone can 'hide' in the person of another (actually recalling the original story that THE THING FROM ANOTHER WORLD [1951] was based on, though I wonder how intentional this was...then again, John Carpenter's 1982 version was still ten years away, so perhaps Robert Bloch thought that an idea discarded by Howard Hawks was certainly good enough for him!); anyway, the cast is pretty strong even for a mere 'device' such as this sequence appears to be (alas, the one with John Bryans and John Bennett for THE HOUSE THAT DRIPPED BLOOD [1970] doesn't quite cut it in comparison though, as in that film, the fourth story here is effectively integrated with the scene-setting narrative), led by a fresh-faced but credible Robert Powell, a surprisingly subdued Patrick Magee and the characteristically Machiavellian figure of Geoffrey Bayldon.

"Frozen Fear": while no one individual episode particularly stands out from the rest, all are played for what they're worth by a succession of fine performers starting with Barbara Parkins, Richard Todd and Sylvia Syms in the first story; the central idea of dismembered limbs taking a life of their own is preposterous really (though I guess it can be explained by the mystical amulet worn by the Sylvia Syms character) but quite cleverly done actually (and it's certainly not a first - or last - for Amicus themselves); it does, however, give a distinctly surrealistic flavor to the scene that kind of offsets its inherent grimness and sensationalism.

"The Weird Tailor": the second story is also the longest and, in a way, most effective one; Barry Morse dominates this segment as the pitiful tailor asked by the mysterious and typically fussy Peter Cushing (who gets a memorable entrance here) to make him a suit from a rare and very special fabric; the center-piece takes place in Cushing's mausoleum-like mansion, where the grief he shows over his dead son is all too real for the actor himself - having lost his beloved wife of many years only a few months before (in fact, I'm surprised Cushing accepted such a role); the final twist is quite effective, and also looks forward to the fourth episode in the film.

"Lucy Comes To Stay": there is some consternation regarding this segment because it is said to slow down the film (allegedly it was originally intended as the opening story but producer Milton Subotsky changed the order of the scenes in Robert Bloch's script around) but I really didn't feel that it affected the overall pace of the film in any major way; if anything, it's the most 'realistic' of the four episodes (preceding the last, and perhaps most fanciful, tale) with fine performances by all concerned but especially, of course, Charlotte Rampling and Britt Ekland - whose relationship to one another (misleadingly hinting at lesbianism throughout) is a bit too close for comfort; the final revelation is not particularly startling in this case, but subtly handled nonetheless.

"Mannikins Of Horror": its 'soul transference' concept tying up to a degree with the main idea of the film, this bizarre installment is taken as far as it can go without crossing the boundary into the ridiculous; the robots on display here are clumsy, unattractive machines but their 'supernatural' connotations (echoes also of the superb "Sweets To The Sweet" story from THE HOUSE THAT DRIPPED BLOOD) certainly make for an effectively nasty climax, and Herbert Lom is persuasive in his small but incredible role; as in THE BEAST MUST DIE (1974), by the end we have to guess the true identity of one of the characters we got to meet during the course of the film - this one is not too difficult perhaps, but the sudden burst of violence that it produces (not to mention an ironic conclusion) gives the whole an unsettling power that is hard to shake off!

Now to the disc itself and the accompanying extras: like the other entries in this Collection, we get a very good transfer indeed under the circumstances. The Audio Commentary is a well-balanced talk with director Roy Ward Baker producing the factoids, while cameraman Neil Binney handles the more technical aspects of the production; Jonathan Sothcott efficiently moderates the discussion. The featurette "Inside The Fear Factory" is a fun little documentary that takes a peek into the Amicus filmography; unfortunately, it is rather short for its purpose and the footage it presents is restricted to the films on offer in this Box Set (which seems to indicate, regrettably, that Anchor Bay UK do not currently have a follow-up set in the pipeline!). Film notes, bios and a poster/stills gallery are typical of the stuff that comes with each disc in the Collection.

Very good photography, acting, dialog set this horror anthology above most others. There is a clever beginning which then evolves into 4 separate stories of individuals inside an asylum. The 1st story is the most gruesome. The 2nd story is the most intriguing and also has Peter Cushing in it doing a excellent job as usual. The 3rd story is the weakest and the 4 th story ties into the twist ending. With each story only lasting an average of 15 minutes, they keep the viewers interest. This also has a nice soundtrack { something almost totally missing from todays horror crap,remkaes and sequels} . For those of us who like style, originality and solid acting in our horror films, this deserves a look.

Roy Ward Baker directs this horror anthology from the pen of macabre master Robert Bloch. Dr. Martin (Robert Powell) is a psychiatrist who wishes to work at an asylum for the incurably insane. In order to gain employment he is set a task by the house chieftain Dr. Rutherford (Patrick Magee) whereby he must discover the identity of a former doctor-turned-patient. Dr. Martin speaks to four different patients in an attempt to discover who used to be the psychiatrist and each patient relates to him their own particular terrifying story.

Robert Bloch, the man responsible for writing the novel of one of horror’s greatest movies, ‘Psycho’ (1960), writes for us four intriguing and pleasurable short horror pieces bound together wonderfully in the confines of an asylum. The film (produced by Amicus studios and now available in the UK in a wonderful box set) has a distinct feeling of a Hammer Horror production to it. The emphasis is on the story and artistic merit rather than cheap shocks and Roy Ward Baker does an excellent job throughout the production of building tension so that each shock has a desirable effect on the viewer. Each segment benefits from a marvellous cast which features the undeniable talents of the legendary Peter Cushing in ‘The Weird Taylor’ and the beautiful Britt Ekland in ‘Lucy Comes to Stay’. Britt Ekland would go on to co-star as the seductive landlord’s daughter Willow in the classic British horror ‘The Wicker Man’ just one year later.

The various segments themselves vary in quality, although not too dramatically. The opening segment, ‘Frozen Fear’ is a deliciously campy story about a man whose murdered wife seeks revenge on him and his lover. This particular segment may be a little too silly for some horror fans but it works as a perfect mood setter for the rest of the movie. The directorial style is what makes this segment worth watching. There are some wonderfully flowing shots which seek to give the short segment a distinctly unsettling edge despite the short falls of the script and story. A wonderful performance from Barbara Parkins of ‘Valley of the Dolls’ (1967) fame in the role of Bonnie caps the segment exquisitely and the climatic scene back in the asylum following the story give the segment an overall horrific nature.

This segment is followed by ‘The Weird Taylor’ which stars Peter Cushing as a devastated father who turns to the occult to resurrect his deceased son. He enlists the help of Bruno (Barry Morse), a taylor desperately in need of money, to make for him a suit to specific instructions. This segment is possibly the weakest of the four yet remains enthralling as the viewer cannot help but wonder just where this particular story is headed. Once again Roy Ward Baker’s direction during this segment is powerful as he creates a dark and despairing atmosphere despite the limitations of time and the story. Cushing’s performance is certainly memorable as is Barry Morse’s. The climax of the story is well portrayed but is unfortunately harmed by an air of unnecessary camp. Still, ‘The Weird Taylor’ is entertaining nonetheless but may be off-putting due to its overly slow nature.

Up next is ‘Lucy Comes to Stay’ which tells the story of a young girl (Charlotte Rampling as Barbara) who apparently has been recently released from a mental institution for her schizophrenia. She is still haunted by her imaginary friend Lucy (Britt Ekland) who soon makes an appearance and convinces her to leave the safety of her brother’s house. Murder and mayhem follow and the despairing Barbara reaches breaking point pretty quickly. This particular segment works more on the basis of the storyline rather than direction as there is little in the way of atmospheric build-up. Britt’s on-screen presence is commanding and powerful and her portrayal of a horror villain is so good that one wishes this segment had been made into an entire feature length movie as opposed to the short segment that it is. The shock scenes are blended into the story seamlessly with a superb accompanying soundtrack. This is my favourite of all the segments.

The film finally finishes with ‘Manikins of Horror’ where a former doctor believes that he can make and control little dolls. This segment takes place wholly back in the asylum and unlike the previous three stories there are no flashbacks to past events. This segment is possibly the most original of the stories and could even be possible influence for ‘Child’s Play’ (1988). Unfortunately, the story falls short as it becomes hard for one to suspend their disbelief yet the segment works as an excellent precursor to the genuinely surprising and shocking ending. Undeniably camp yet strangely intriguing this is a fitting ending to a generally entertaining horror film. For those who like horror anthologies and Hammer-style productions, one cannot go too far wrong with this entertaining British horror film. The film fails to maintain quality from start to finish but does not fail to entertain, surprise or shock. To sum up - an entertaining piece of horror anthology fare with some excellent direction, beautifully atmospheric scenarios and accompanying music and a strong cast who all give credible performances. My rating for ‘Asylum’ (1972) – 7/10.

I must admit that when I read the box and saw the cast of "Asylum" includes Peter Cushing, Britt Ekland and Herbert Lom, I thought to myself "Dr. Van Helsing, Peter Sellers's ex, and Insp. Clouseau's boss in a horror flick. Whoa." It turns out that while parts of the movie come out a little flat, it's some pretty cool entertainment. Portraying a neophyte doctor coming to an insane asylum and having to guess which patient is the former head doctor, they know how to do most things right.

The vignettes show two people plotting to kill a woman who, unbeknownst to them, practiced voodoo; a tailor having to make a most unusual suit; a woman and her "friend"; and a mannequin maker. Ah, but wait until you find out who the former doctor is! Not that this really relates to anything, but I never realized how hot Britt Ekland is! I've seen her in a few movies, but in none has she sent my hormones as wild as she did here. Of course, I just go crazy for any of those blonde actresses from the '60s (others include Barbara Eden and Elke Sommer).

So, this movie isn't any kind of masterpiece, but it doesn't pretend to be. Just nice, silly entertainment. Also starring Patrick Magee (the wheelchair man from "A Clockwork Orange") and Charlotte Rampling.

4 short story adaptations of Robert Bloch stories. I will look at them in order they appear...

"Frozen Fear": short story of a man who attempts to cut himself off from a loveless marriage in order to take up with his mistress by a rather inventive means of murder only some things don't seem to want to stay dead. Short, but effective and creepy with a terrific ending even if we are required to suspend disbelief quite a bit in a few scenes.

"The Weird Tailor": a tailor desperate for money agrees to, at the request of an unusual elderly customer (played by Peter Cushing), to make a special suit out of a very strange type of fabric. Only when he delivers it, he discovers the elderly customer actually has no money to pay and even more shocking is the true purpose of this bizarre suit. This is the best of these tales. However, to be honest, I much prefer the adaptation from the "Thriller" series.

"Lucy Comes To Stay": a tale of psychosis as Lucy (Charlotte Rampling) returns home from the mental hospital, presumed cured, only it seems the naughty girlfriend who landed Lucy in trouble to begin has started to visit her in secret as well. Actually this is not at all bad, it just runs a little too long for my liking. Still there's some quality about Charlotte Rampling I find irresistible.

"Mannikens of Horror": the framing story for the others in the series as a new doctor visits a mental hospital and discovers that the Doctor who called him there is now a patient in the ward. He's told he can have the job if he can identify which patient upstairs is that Doctor. Finally he comes to believe the individual is a strange fellow who makes small lifelike figures, into which he plans to place his conscience and use as his means of escape. A number of startling twists here, fine stars like Patrick Magee and Herbert Lom, make this both entirely unpredictable and honestly quite good.