Ça peut vous arriver demain

This film should be put in a special category, "Movies that make you feel like you're on something." In this category would be Yellow Submarine, Eraserhead (or any Lynch film), Ken Russell's and Nic Roeg's and Jodorowsky's whole catalog, etc.

It is a bad movie, no doubt about it, and incomprehensible how it got made, or why, but that just makes it more fascinating. Thrill to the sight of Eastwood's then-girlfriend giving a truly unhinged performance and wonder if she's really acting or not! Listen to Colleen camp alternately scream and laugh hysterically as she beats up a tied-up guy in a bed and ponder how she ever got another acting gig again! Thrill to the sound of one of the weirdest choices of theme song ever recorded! Stare in awe at what appears to have been a cinemascope movie squeezed onto your t.v., and contemplate how much more dizzying it would've looked on the big screen! Feel this movie melting in your brains, not in your hands, as it gets ever more insane, leading up to a climax so stupefyingly cheap and abrupt it could only be attached to this movie!

Saw this as a kid on cable, watched it because it was rated R and promised nudity and sex. Got a *little* more than I bargained for, but wasn't displeased or even shocked (Fellini's Satyricon was on right before it--Lord, how I stayed out of a mental hospital is a miracle). If you like weird movies that simulate being on drugs this film is for you, at least if you have a taste for old, poorly done exploitation stuff.

Okay, now it's time for my take on the film. I've read so many meaningless reviews that only serve to mislead and miseducate. So, first, here is the basic plot: Seymour Cassel portrays George Manning, a husband and father, living the idyllic family-life. He's got the perfect wife, lovely children and a beautiful home, just on the outskirts of San Francisco, in the (seemingly) peaceful middle of nowhere, to be exact. While his wife and kids have left town for the weekend, he is left all alone on his 40th birthday. This is where it all begins.

On this stormy night, he is greeted by two young women, whom he takes in for shelter while they call a friend and await arrival to be picked up. The girls, Jackson (played by Sondra Locke) and Donna (the delightful Colleen Camp) seem endearing at first, and are more than impressed by the lush surroundings of George's home. They warm up to George, resulting in a somewhat unwelcome sexual episode. This is where most people are wrong... the film does NOT contain "tons of nudity". Yes, there's Sondra showing off what no one wanted to see, and Colleen who gets the "cutaway" every time she disrobes, which is typical as I've never seen her in a nude scene before. She has done a lot of exploitation films, even T & A films, yet offered no T & A, which made me wonder whether or not these reviewers were correct. In fact, the initial sex scene involving the three of them is done in a tasteful manner, with a dizzying series of dissolves, and overall steaminess (not in the sense that it comes off steamy, it just looks like someone left the kettle on too long).

The morning comes and George awakes to the girls who are still at his house. Reality sets in and he realizes he made a bad call. The girls claim that their friend never showed up, which puzzles George. He offers to take them home, but they insist on dancing around the issue. During breakfast, the girls pig-out... big time. George gets irritated by their behaviour and now he wants them out. Through several difficulties, it becomes evident that the girls are no longer "teasing", they are seriously disturbed. Eventually, George finally manages to get them in the car and drives them into San Francisco. He drops them off and heads back home.

As George arrives home, he notices a figure stirring upstairs, only to discover that his journey was all-for-not, as the girls have returned. It is clear that George is now a prisoner in his own home, with no fore-seen conclusion. The girls' bent personalities really begin to shine, as they tie George up and put him through several ongoing tortures, which transcends the remainder of the film into this abyss of nightmarish absurdity.

The film has a very surreal, bad dream-like quality and the tone is nothing short of completely "off-kilter". Very much at home with others of the genre like "THE LAST HOUSE ON THE LEFT" and "HOUSE ON THE EDGE OF THE PARK", yet not as graphic.

The film's duration, an 87 minute running time, seems un-ending. And, yes it does have one of those "curve-ball wallop" endings, not so much in a good sense, but rather in one of those "time to make a mold" instances.

A few things of note: Cassel's performance is completely dubbed, by someone else, which sort of adds to the atmosphere in an odd way, and what may dictate his true feelings concerning his involvement in the picture. Colleen does have a couple of nude scenes, the "hopping on the bed" sequence and the weird and dreamy "window tapping" scene towards the end of the film. Supposedly, this is all based on a true story, which was a commonly used "hook", especially in the golden days of '70's exploitation fare, and more than likely, is a falsehood. The production designer, Jack Fisk worked on this film along with assistant set dressers, his wife Sissy Spacek and Bill Paxton. And, last but certainly not least, that damned song "Good Old Dad" will drive anyone into a sadistic, maniacal rage. It has to be the WORST song I've ever heard, and that says a lot. Not to mention, that it is played throughout the film, continuously, in long, overdrawn montage sequences that take you to nowhere, and leave you there!

Overall, I had wanted to see this film for years, and after finally viewing it, I must say that it fell short of what I had expected, yet I did not dislike the film. There are plenty of good ingredients to add up to an un-nerving cult classic, but instead we are left with a level of confusion, rather than curiousity. Despite a few shortcomings, the film is worth watching for the performances and atmosphere, and a chance to see Cassel in action while John Cassavetes had his back turned.

A First American Films Release. Distributed by Levitt-Pickman Film Corporation.

This film essentially begins with a man by the name of "George Manning" (Seymour Cassel) saying goodbye to his wife "Karen Manning" (Beth Brickell) as she goes to visit their son living in another state. That night two young women named "Agatha Jackson" (Sondra Locke) and "Donna" (Colleen Camp) appear on his doorstep totally drenched due to a thunderstorm and asking to use the telephone. Being a good person George allows them inside and even gives them some food and dry clothes while they wait for a friend to come and pick them up. What George doesn't know is that these two women aren't nearly as sweet and innocent as they pretend to be and soon he will regret ever meeting them. Now rather than reveal any more I will just say that this film started off rather well but then things took a turn for the worse with one extended scene continuing for what seemed like an eternity--and it became quite tedious from that point on. That being said, I have rated this movie accordingly.

It's actually a real shame that this film wasn't better, as it features a story line that does a good job of turning the tables on the common exploitation theme of men brutalising women, and it's also quite scary if you put yourself in the position of the lead character! The basic plot revolves around George; a 'happily married' man who picks up two young girls and seduces them at his house. However, after giving him some information that he REALLY didn't want to hear, George finds himself at the girls' mercy. The film has just three central performers, and while many other films work well from this sort of base; this one doesn't, or at least; not really. Director Peter S. Traynor doesn't really have enough ideas to keep the film entertaining throughout; but luckily, The Seducers does have its moments. The majority of the film is suitably sick and twisted, and the two central women are nasty enough to make the film a nightmare for most men. The Seducers is nowhere near as malicious as many similar seventies thrillers; but its decent enough entertainment for fans of this sort of thing. Unfortunately, the stretched plot ultimately lets it down - but it's an interesting film at least, and I somewhat enjoyed it. Just a word of warning, though – you'll have trouble getting the theme song out of your head!

It is 1975, and George Manning is a happily married man living in San Francisco. On his 40th birthday, a family emergency necessitates his wife Karen travelling to a different state, leaving George alone but for the wind and the rain. Or so he thinks, for fate brings him guests that night: two young ladies named Jackson and Donna, who say they're lost. After inviting them in to warm up and dry off, George and the ladies get to know each other better; and it becomes clear that they don't plan on leaving his home any time soon- whether he wants them there or not.

Directed by Peter S. Traynor from a screenplay by Anthony Overman and Michael Ronald Ross (as well as an uncredited Jo Heims) 'Death Game' is a camp comic-horror both entertaining and underwhelming. Exploitative and overblown, the film is a product of its time, reflecting the anxieties and fantasies of the post-Vietnam War period. Indeed, if one were to examine the film in the context of that conflict, one could say it shows how the illusion of security and order that many Americans had was shattered, how they became vulnerable and helpless in the face of an unpredictable, hostile enemy, and how they struggled to cope with the aftermath and consequences of a most violent encounter.

While this and other interesting ideas are raised- the warped reality of a male sexual fantasy, for one, or the indifference of fate and the effects of abuse on the psyche- the variety of themes in 'Death Game' are only ever really hinted at and never fully explored. The narrative doesn't break any new ground and features few surprises, unfolding in a linear and generic fashion, populated by scene after scene of mental and physical torture that leaves a grisly aftertaste. The abrupt ending of proceedings is also jarring, feeling rushed and completely out of left field in the face of the lengthy brutality that came before it.

Though tame when compared to modern films such as 'Hostel', which go all out on the gore and violence; 'Death Game' still disturbs and unnerves. The characters of Jackson and Donna are utterly unhinged, unpredictable creations, with no morals or empathy to speak of. Psychopathic and merciless, they are reflections of the fears the middle classes had of many in the hippie movement; of the Mansonesque types who stole into homes and left destruction in their wake. Though similar in ways to 'Straw Dogs' or 'The Last House on the Left' through its depiction of home invasion and violence; 'Death Game' differs with its tone and style, which are more humorous and exaggerated than realistically gritty.

David Worth's artsy cinematography creates an eerie, claustrophobic atmosphere, while he manifests dread and tension through his use of shadows, distorted angles and close-ups. Worth employs an array of creative techniques- such as double and triple exposures, slow motion and freeze frames- to enhance the macabre, nightmarish quality of the film, while his work as editor of the picture gives it a brisk pace and smooth flow. His work on 'Death Game' is one of its main strengths; elevating as it does the material from a simple exploitation flick to a stylish, visually striking psychological horror.

Jimmie Haskell's score also comes as a boon to proceedings in general, providing a fitting musical accompaniment to the film's mood and tone. Haskell composed two original tunes for 'Death Game': 'Good Old Dad', a cheerfully ironic song that plays during the opening credits, contrasting with the horror that follows; as well as 'We're Home', a haunting, melancholic song that plays during the closing credits, reflecting the aftermath of the ordeal. Memorable and stirring, Haskell's score adds to the film's atmosphere, enhancing its scenes of tension, violence and insanity.

Much like its narrative, the performances in 'Death Game' are a bit of a mixed bag. On the one hand, Sondra Locke and Colleen Camp are delightfully over-the-top as Jackson and Donna, delivering convincing, captivating portrayals of people completely enslaved by madness. They share an electric chemistry and keep you on the edge of your seat throughout. On the other hand, Seymour Cassell plays George as an exceedingly apathetic fellow, who lacks charisma and charm, ending up as nothing more than a plot device for the two ladies to play with. Allegedly, Cassell hated working under Traynor and refused to loop George's dialogue once filming wrapped- explaining why, in the final cut, it is David Worth you hear whenever George speaks. At any rate, Locke and Camp's exuberant performances make the film worthwhile; with or without Cassell's voice.

At the end of the day, Peter S. Traynor's 'Death Game' is a rather underwhelming effort, though it does have elements deserving of praise. Stars Sondra Locke and Colleen Camp make for a terrifying twosome, delivering energetic, unhinged performances that are highlights in both their filmographies, while the atmospheric score and David Worth's artistic cinematography are striking and unforgettable. Although the narrative doesn't come to much, contains few surprises and unfolds in a linear way, there are some memorable moments in 'Death Game.' It just might not be something you'd play again in a hurry.