It!

Greetings And Salutations, and welcome to my review of It!; here's the breakdown of my ratings:

Story: 1.50 Direction: 1.25 Pace: 1.25 Acting: 1.50 Enjoyment: 1.25

TOTAL: 6.75 out of 10.00

I am, have been, and will always be a Roddy McDowall fan. When I saw the movie stared the great man, I had to give it a look-see, and I am glad I did. It's not a great movie, but it is highly entertaining, thanks mostly to McDowall.

The story is your basic 1970s fodder. Man finds a monster he can control and uses it to kill his way to his heart's desires - who needs hard work? That said, I did enjoy the opening sequence as it kind of rings true. There's a raging fire at a museum's storage facility, and the only thing to survive is a seven-foot statue. Most of the treasures unearthed are indeed done so accidentally. It's an odd-looking effigy that looks crude in its workmanship but somehow manages to exude menace. Pimm quickly realises there's something supernatural about the figure and sets his mind to finding the truth. And once the murders start, Perkins - an American buyer - and Scotland Yard set out on another path of truth-finding. One thing I would have included in the story would be more on Pimm's background. I loved this character, even the individual's excentricities like stealing the jewels for a day or two so his mother could wear them. Is this something she would bully him into, or is it a recently formed transgression - Something he decided was a good idea after retrieving his mother's corpse from her grave? Oh, yeah! And why did he do that? These questions are unanswered, and I don't think that was a good idea. It makes the peculiar events feel excessive to the story's concept and not one of its components. However, McDowell does well with the scenes though he's no Anthony Perkins. I liked how Pimm realised he'd gotten too deep into the evilness of power and wanted to make amends. Most people in stories of this ilk are completely consumed and never see the error of their ways. It was refreshing.

The director of this little treasure is also the writer, and he's equally skilled in both fields. The direction could have been better. Though he subdues the lighting and adds thunder and lightning, it's not nearly atmospheric enough. There should be an underlying dread to all the preliminary and primary scary scenes. You should feel unnerved, but, sadly, you don't. But the worst thing is the painting. When the Golam topples a bridge, we get to see the aftermath. Though not having a great budget, instead of a set model, we see an artist's rendition of the devastation. Regrettably, the limited money didn't stretch to a good artist. I paused the scene for a few minutes but still couldn't recognise what I was looking at - It was a mess. They must have spent the cash on the cast and the Golam's outfit. Even though it's simplistic and not too frightful, it looks okay, and you cannot tell it's rubber. There are times when its arms are down and others when they're at forty-five degrees, and you cannot distinguish any creasing in the material. In too many similar films, the monster's garb unintentionally lets the film and the creepiness down.

The cast is more than adequate. McDowell, as always, is superbly entertaining. And though he appears to perform most of his roles with tongue firmly in cheek, his characters always come across as believable and relatable - as does Pimm in It! And even though he's broken in a twisted way, you still warm to him, which is a strange feeling to possess for the murderous villain of the picture.

It! Is a Sunday afternoon watch on a cold rainy day. You're happily stuffed with Sunday dinner, the fire's warming up the room nicely as rain streams down the window pane, and you need something easy and enjoyable to waste a little time. Should you have a copy of It! Or have found it on a streaming service, then get under the duvet, grab a warm drink, and enjoy It!.

Please feel free to visit my Absolute Horror list to see where I ranked It!.

Take Care & Stay Well.

This sure is a weird little horror film. In fact, there are not many real highlights -perhaps none- I can find in it in terms of the issues that make a movie (budget, direction, script, camera work, photo, colour, locations, settings, edition, music, cast ...). However, every time I catch it on TV -always by chance- I get hooked up and can't help watching it till the very end. I really couldn't say why.

This unpretentious not scary horror film, sort of silly too, has a strange fascination on me. Roddy McDowall's preserved dead mother on a chair is not original ("Psycho" was first and better by far); the Golem is no big deal as a monster and doesn't even look menacing enough; no frightening situations really; McDowall has done many better jobs in his career and though Jill Haworth is a beautiful woman no doubt she is not quite my type. In fact the only interesting sequence I can rescue out of "It!" is when the stone arms of the Golem appear in different positions between shots at the museum in front of an amazed Arthur Pimm (Mc Dowall).

A great film? not at all; a good film? not in my opinion; a watchable one? I wouldn't say that either. Yet I don't know why I am interested, perhaps because I find it sort of original and really odd. Who knows?

'It!' AKA 'Curse of the Golem' (1967).

Been many years since I've seen this one - had a chance to see it again recently. It is an odd film, something a bit different from the normal horror films.

The first of the film is how the statue came in to the hands of Arthur Pimm (McDowall) and the museum he works for, then comes some history on the statue of the golem, and after about 40 minutes you will watch Arthur (Roddy McDowall) go mad with power for he controls the golem. But how can the golem be destroyed?

Not a bad film - it's quite fun! BTW it's Roddy McDowall's performance that makes this film good.

7/10

Herbert Leder's IT!, or CURSE OF THE GREAT GOLEM (the name the film really should have had) is one of the most bizarre and eclectic little monster movies ever made. It's a misunderstood or better yet misguided little project that had really good intentions, a decent cast, a respectable mid-line budget, some decent writing, but ultimately falls a little flat. My association with the film and enthusiasm for it is nostalgic: This used to play on our Monster Movie Matinée and Eivom weekend afternoon/evening local film slots. At the age of 11 or so I thought it was one of the coolest movies ever made ... my more mature mindset sees it's flaws but still loves every stupid, stiff, very British minute of it.

Roddy McDowall plays a very strange young man named Pimm who works for a respectable British antiquities museum and happens upon a statue slated for display there which may or may not be one of the last of the Golems -- clay juggernauts of destruction made by Hebrew alchemist/artist mystics to protect their people from outside oppression. They are infinitely strong, completely indestructible, and have absolutely no will of their own. The problem is that such power corrupts humans infinitely as well, and once you get started on being the most powerful 24 year old nebbish on the planet it's hard to make yourself -- and It -- stop. Especially when you can't get rid of the damn thing. The film is broken up into three stages: Part one involves a series of strange unexplained deaths in and around the museum that McDowall rather slowly realizes must be the work of the Golem. Part two involves his quest to learn how the thing works and his rapid descent into near madness after he learns the secret. And part three involves his ultimately futile attempts to get rid of the thing as it ruins his life, rampages across the countryside, drives him completely insane, and finally walks off into the ocean after the British Army tries to blow it up with an atom bomb. Presumably it is still wandering around down there somewhere.

Along the way we meet various people who touch on Pimm's life, most notably his stuffy museum curator bosses, the pretty daughter of one of them (Jill Haworth), a couple of British police inspectors (one of them cult horror legend Ian McCulloch), and a visiting expert professor on Golemology from America. We also get to meet Pimm's mother, who is dead, and her partially embalmed body is Pym's partner in life. He "borrows" rare jewels from the museum for her to wear, fixes her tea and after dinner toddies while he talks with her about the day's events, and introduces her to others with a kind of blasé offhandedness that suggests we are getting it wrong by reacting with horror to the corpse. The scene where Pimm, the Golem and his mother terrify a museum matron is the best laugh in the movie. All the while the power of the Golem is getting under his skin, leading to the film's finest scene where he asks a Hebrew scholar to translate a script that had been etched into the Golem's side. The subsequent scenes of destruction as the Golem runs rampant pale to the chills sent down the spine by the old man's solemn intonation.

Another great scene is when Pimm loses control of a situation and orders the Golem to commit murder for him, and it is at that point that the narrative begins to spiral out of control. We see a few scenes of carnage but for the most part the film is McDowall's, and fortunately even in 1966 he was a good enough actor to more or less carry the project. His Pimm has an odd ambiguity about him that is certainly "evil", yet sympathetic in the way that is very reminiscent of Anthony Perkins' PSYCHO character. We actually feel suspense hoping he will not get caught and perhaps figure out a way to free himself from the curse of the Golem, but alas he torches an elderly librarian, barricades himself in a secluded manor, and pouts like a spoiled brat when Jill Haworth tells him he is about to be blown up with an atom bomb.

All this is a good premise, but aside from a single incident when Pym looks at the Golem's arm's to see them bent, looks back up in astonishment at it's face, then back down at the arms to see them straightened, then back again to gawk at the stone face, the film lacks any kind of artfulness, existing more as an act of "craft". At one point Pym even tries to light the thing on fire by spilling fuel oil all over it and the director allowed him to shake the can and snarl "This will finish you ..." like he was Daffy Duck. One other problem the film has it is that it was made at the wrong time: By 1966 London was going "mod" and this film is about as square as they come. Hammer Films was making big waves with their Gothic shockers and a stiff, somewhat talky movie about a giant walking slab of clay didn't have much resonance compared to Christopher Lee in his Dracula cape. IT! was more or less forgotten except as off-hour TV viewing for 11 year old boys who would think it was the coolest thing ever made, perhaps.

7/10 nonetheless: Deserves a restoration for DVD where IT! could prove to be a cult hit of some magnitude ... and if anyone ever is of the mind to put one together, give me a call.

Anyone who has every followed the rich full and popular life of actor Roddy McDowall, knows and understands that here was a very underrated individual. Praised by the high and mighty for his unflagging integrity as well as his immeasurable friendship, he played many parts, but was seldom seen as a heavy. This film is called " IT " and has him playing Arthur Pimm, a museum curator who discovers a strange and powerful statue. It's original intentions were benign at first, the statue does whatever he is ordered to do. Eventually however it's limitless abilities leads to self-aggrandizement and disaster. From petty theft to ultimate murder, Pimm eventually realizes that such power in the hands of even the most innocent individual can and does lead to corruption. Despite becoming delusional and diabolical, his character is seen as pathetic and obsessively two dimensional, yet Roddy makes him dependent and sympathetic. The film is not considered among McDowall's best, indeed it is still a milestone for his many fans. Much time has elapsed and today stands as a cult Classic. Easily recommended to all. ****