Qualcuno dietro la porta

Back in the good old days, before the success of "Death Wish" forced him into playing the same role of the angry vigilante over and over again, Charles Bronson was a fine, versatile actor; in this 1971 film, he actually plays the victim of a larger scheme (though he does some victimizing of his own, too), and he's the best - if not the only - reason to see this otherwise static, plodding thriller. Anthony Perkins disappoints as the slightly deranged brain surgeon. The version I saw was in French, though the actors clearly spoke English on the set; this only added to the strangeness of the experience. Oh, and good luck to anyone trying to figure out what the title has to do with anything else. (**)

Outlandish , stagy drama excellently performed by a phenomenal trio . Dealing with a neurosurgeon named Laurence (efficiently performed by Anthony Perkins) who extremely dedicated to his work neglects his cheating wife Frances (Jill Ireland) . As the frustrated , philandering woman accordingly takes a lover, Paul Damien , a French journalist (Henri Garcin) . When he realizes what is going on , Laurence has only one thing in mind : vendetta , and a diabolical idea comes to him . Then he takes a patient , an allegedly killer (Charles Bronson, a cast against type at his 49 years) into his tool for revenge by implanting murderous suggestions into psychopathic amnesia victim , making him believe that Frances is his wife , and after that , instructs him to commit grisly acts . No Memory, No Name , No Conscience! Bronson's Back! This Time He's the Bad Guy . No memory, no name, no mind: This man will act out someone else's insanity and revenge.

This is an offbeat and intelligent drama-suspense with good performances and plenty of plot twists , though some moments resulting to be slow-moving . Based on a short story written by Jacques Robert with adaptation & dialogue from Lorenzo Ventavoli and director Nicolas Gessner himself . Casting is really magnificent with a sensational trio of main actors . Anthony Perkins is very nice as the evil brain surgeon Dr. Laurence Jeffries, a cunning neurosurgeon who implants murderous suggestions , and Jill Ireland is fine as his cheating wife . But is Charles Bronson who steals the show as an amnesiac patient who's used as an instrument of revenge by conditioning him to believe that the adulterous wife is his own and to take the appropriate action . This is an unusual Bronson film , as he casts against type , and he was about 50 years old when he showed up in this picture . It belongs to his period when he played two-fisted characters . As Charles Bronson was at his best period , but it was one of the last movies during Charles Bronson's European phase , combining the American ¨Michael Winner's Death Wish¨series that became him a big star in the US and while playing some 70s westerns ; his westerns made during the 1970s include ¨Chino¨ by John Sturges (1973) , ¨Red sun¨ (1971) by Terence Young , ¨Chato the Apache¨ by Michael Winner (1972), ¨From noon till three¨ by Francis D Gilroy (1976) , ¨Nevada Express¨ by Tom Gries (1975) and ¨The White Buffalo¨ by J. L. Thompson (1977) . The star is partnered by attractive Jill Ireland , his then wife , in fact she previously married David McCallum and often accompanied to Bronson in his films .

The movie displays an atmospheric cinematography by cameraman Pierre Lhomme and appropriate soundtrack by French composer Georges Garvarentz . This uneven motion picture was professionally directed by Nicolas Gessner . He's an acceptable director who has made a few films . As he has shot ¨The Little Girl Who Lives Down the Lane¨ (1976) his best movie starred by Jodie Foster , Martin Sheen and he directed to Ben Gazzara in ¨Quicker than the eye¨ and to Charles Bronson in this ¨Someone behind the door¨. The film will appeal to Charles Bronson and Anthony Perkins fans. Rating : 6/10 . Acceptable and passable .

Average thriller of a psychological nature about Anthony Perkins as a brain specialist finding amnesiac Charles Bronson and convincing him that his wife is his wife and is having an affair - all the while having a real affair. This is Perkin's way of dealing with the messy affair. There is quite a bit of plodding here as well as some leaps of logic in the script that are not easily believed. Perkins and Bronson are able to create convincing enough characters to make it work relatively well. Perkins plays the malevolent, to a large degree impotent(of taking command of the situation)doctor with his customary workmanlike manner. Bronson does get to act and though looks a little too lost at times fares well enough too. Lovely Jill Ireland plays the good doctor's sexy wife but does little for her role or the film other than looking quite appealing. The end is really not effective as it leaves no real resolution to any of the plot strands revealed. The director does have some obvious talent and the film moves briskly mercifully.

Nicolas Gessner :" For close-ups of hands,I usually inserted my own ,because it's an intricate and tricky operation .But obviously ,I couldn't do it with Tony ,because he had such very characteristic hands "

Fluent in French for he had been learning this language since he was hardly four, Perkins would work twice with Claude Chabrol ("le scandale " " la décade prodigieuse") and that director would probably have made a better film than Gessner on a screenplay based on a play (it was performed on stage in France). The English refused to co-produce the film cause the unions refused American stars as the leads ;it was released in both versions , Perkins' voice is heard in both.

But the movie is not bad ,with a good atmosphere ,and ,it helps, several scenes filmed on location on the wild British coast in Folkestone.Perkins is well cast as a shrink , forbidding ,daunting and formidable under his wide smile .

The contrast between the two personalities ,at once in the movie and in real life,is striking : the flanky elegant aristocrat Perkins and the macho sturdy Bronson ,here cast against type ,and a little ill at ease in a part of an amnesiac who becomes a puppet in the doctor's hands .The fact that Mrs Perkins (Jill Ireland)in the film was Bronson's real life wife adds to the confusion of a somewhat far-fetched plot the ending of which is not really satisfying , but they perhaps wanted an open one.The plot ,although intriguing , is not as efficient as Anthony Shaffer's or Agatha Christie's plays .

"The slight tension between them enhanced their performance" Gessner said ;Bronson was distruthful and feared that his director and co-star could lead into doing things he would regret .Anyway it was not easy to cast against type an actor so sure of himself (and who made much more money at the box office).

It met mixed critical reception in 1971,but since it has aged pretty well , thanks to the two principals, whose relationship is fascinating.

A man is brought to a hospital with a severe case of amnesia and neurosurgeon Laurence Jeffries takes it upon himself to help out the patient. He dismisses it as intoxication, and pretends to take him to the station. However he brings him back to his home, but the motivation for this is unclear, and everything he's doing to supposedly treat him is done in secrecy. The identity of the stranger is becoming clearer, but so are the doctor's true intentions as he begins to manipulate the situation.

Confined, low-key low-budget French/Italian psychological drama with commendable performances by Charles Bronson and Anthony Perkins. The whole-set-up is like a stage show, were it lies heavily upon the expressively versatile performances and ambitiously novel material. The layer-bound premise is totally illogical, but strangely absorbing with its unforeseeable offbeat nature of offering up numerous surprises, and interestingly unlikely developments. However there are some questionable, teething problems involving the scheming, and its possible outcome. There's just too many cracks, to make it bullet proof that you just wonder if there was much thought put in behind it. Still there are elements that are smartly conceived, and this can be contributed to the manipulative tension (where the repressed anger, and violence is played out through a human tool) and mind-messing that director Nicolas Gessner (the man behind the superb 'The Little Girl Who Lives Down the Lane (1976)') ably works in. As well the believably committed turns of the two leads. Bronson and Perkins worked off each other magnificently. Perkins' cold, planned performance with Bronson's disorientated, assailable figure is sincerely pre-figured. There's no doubt this is one of Bronson's best acting turns. Jill Ireland is adequate in her small role. Gessner's sure-footed direction subtly paints a glum, intrusive puzzle with unique filming techniques that slowly strings you along to a powerfully bitter climax, which finally concludes on an inspired final shot of possible sickening regret. Sometimes it loses out by ponderously stretching it out too much with some raggedy editing, and another weak spot was the playful, but unremarkable misplaced music score by Georges Garvarentz. It just didn't add any sort of punch, or feel. Pierre Lhomme's slick cinematography is steadily framed.