Sous l'emprise du démon

Twisted Nerve is a rather well made film about a psychopathic young man who regresses to an infantile, rage filled personality when stressed or sexually atracted to another person. Released in the United States in 1968 by National General Pictures, the film was controversial for its suggested link between downs syndrome and psychopathology.

The film was a box office disapointment probally because it was marketed as an axe-killer psycho movie, which it is not. Although there are a few shocking scenes, this film is a character study of a person damaged by his herediary and his overly protective, seductive mother.

This film is nearly impossible to see if you didn't catch it in 1968. It was available from Thorn/Emi in Austraila, but I believe its OOP.

Twisted Nerve is a rather well made film that deals with the psychopathology of a 21 year old man. His illness is "triggered" when he leaves his troubled home (a rich demanding father and infantilizing mother) to live as a border in the home of a college student (Haley Mills) and her mother (Billie Whitelaw).

The film works especially well when his sexuality is aroused by both Haley Mills and Billie Whitelaw, with disastrous results.

The movie takes its time to unfold. Although it does have some shocking scenes, this film isn't your typical slasher/psycho movie, as the advertisements suggest, its much more than that.

A storm in a tea-cup is how to describe the glaring reputation formed by this obviously influenced Hitchcok-like, British slow pot-boiler psycho-thriller. At its core is a very daring, but questionable theme (or better put taboo) that landed it in hot-water with the media when released, as it opens with a disclaimer ruling out the scientific connections between siblings of mongoloid children being linked to criminal behavior. Well it must have been effective in some shape, as that's one way to get your film noticed! Screenplay/writer Leo Marks wouldn't be wet behind the ears to controversy, due to the fact he wrote the story for chillingly sleazy 1960 'Peeping Tom' that saw director Michael Powell's work getting heavily cut.

Martin Darnley is a coldly smart, but considerably nurtured and lonely young lad of a wealthy family that sees his mother smother him, while his domineering step-father wants to get rid of him and his mongoloid brother hospitalized. Assuming a false identity under Georgie; a nice, but mentally back-wards boy he meets a young lady Susan Harper who he takes a real shine too. Under certain circumstances and made-up stories he finds himself staying at a lodging house owned by Susan and her mother Joan.

Where it goes on to spark the interest and really builds around is the dark and unnerving psychological interplay of Martin (with a magnificently conniving and edgy performance by Hywel Bennett) manipulating and preying on the goodwill of others to adapt and form his new identity for ones own gain. The biting (if heavy-handed an absurd) material really does complement the calculative, random and moody ambiance, where it demonstrates a glassy sort of tension awaiting to break from the dramatic actions of the progressively plotted layout. This is more so character-based, than anything related to thrills. Bernard Herrmann's grandiosely sizzling score eerily caresses with the catching whistling rift by Bennett's character striking a cord. Director/writer Quentin Tarantino would sample the jarring whistle tune in 'Kill Bill Vol. 1'. Most of the suspense arose from Herrmann's masterful arrangement, than anything visually. Roy Boulting does an accomplished job directing, even with some stretched-out moments it remains curiously gripping throughout and the expressive camera-work takes shape to where it reaches its hysterical climax. The lovely ladies that appear are a terrific Haley Mills as Susan and Billie Whitelaw is absolutely great as her mother Joan. There's also a boisterous Barry Foster appearing as one of the lodgers.

In 1960, two respected British directors debuted shocking psychosexual thrillers, to mixed critical and commercial receptions: Alfred Hitchcock with 'Psycho,' and Michael Powell with 'Peeping Tom.' Both films were shocking in their time, and their influence on low-budget 1960s horror can't be overstated. Roy Boulting's 'Twisted Nerve (1968)' is a typical Hitchcock rip-off, but of the serious, stylish Brian De Palma mould, rather than the schlocky comic-horror of William Castle. The film introduces us to Martin Durnley (Hywel Bennett), the younger brother of a man suffering from "mongolism," the condition now known as Down Syndrome. Though seemingly healthy a birth, it seems that young Martin has developed some psychopathic, psychosexual tendencies, inextricably linked to a chromosomal mismatch at conception. Martin pretends to be mentally-challenged in order to get into bed with the virginal Susan (Disney favourite Hayley Mills, later the director's much-younger wife), only to instead capture the attentions of Susan's lonely mother (Billie Whitelaw) – did I mention this film was rather twisted?

Though the film treats its absurd, gloriously un-PC narrative with the utmost seriousness, it is nevertheless startlingly effective at capturing the main character's psychoses. Bennett's performance is menacing and pathetic in equal degree, playing a sort of introverted Alex DeLarge, whose wicked intentions are always bubbling beneath an otherwise honest exterior. 'Twisted Nerve' also features a maddeningly catchy musical theme, memorably recycled in Tarantino's 'Kill Bill: Vol. 1 (2004),' composed by Bernard Hermann, who by this time was estranged from Hitchcock on account of his rejected score for 'Torn Curtain (1967).' Nevertheless, it's clear that Alfred Hitchcock himself both saw and enjoyed 'Twisted Nerve,' as he cast both Barry Foster and Billie Whitelaw in his own back-to-basics British shocker 'Frenzy (1972).' Due to controversy surrounding its depiction of Down Syndrome, the film opens with a spoken announcement that attempts to shirk responsibility for its political incorrectness, but without much luck. I probably wouldn't have it any other way.

Hayley Mills and Hywel Bennett who scored big in The Family Way, she as the eager bride and him as the groom with nervous performance problems, made several films after that together. But Twisted Nerve is about as different from The Family Way as you can get. Hayley Mills still had some box office clout via the Disney films she made. But it's Bennett here who has a meaty role as a narcissistic sociopath.

He meets Hayley Mills when both are suspected of shoplifting in a London toy store. But Mills and Bennett both get out of it after he puts on a second personality, a man with the development of a seven year old. Mills feels sorry for him and Bennett makes a note of her address and makes sure to bump into her.

He may act a seven year old as a ploy calling himself Georgie. But in is real life role as Martin, Bennett is getting an understandable case of the hots for Mills. She can't take him seriously though in his little boy persona. That's when Bennett's narcissism takes over and he goes full blown psychotic.

Bennett dominates this film, he enters the room your eyes are on him even if he's not speaking. Beautiful as Hayley Mills was at the prime of her life, she can't keep your attention when Hywel is in the scene.

The film fills you full of anticipation. You never know when Bennett is going to finally lose it, but when he does you are fearful of this man/child.

Nothing like The Family Way, but still a good film.