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This Hammer film has remained in the wilderness for years, but thanks to Optimum Releasing, it now has its long awaited DVD release. The back of the box proclaims this film to be the last of Hammer Horror's suspense films, and one of the best - and both of those statements are true! Many of the suspense films that Hammer produced are among the best that the studio had to offer - Taste of Fear and Paranoiac being among the finest of them. This film isn't your usual Hammer film or your usual Hammer suspense film and plays out a lot like a Hammer version of Italy's popular Giallo sub-genre. Hammer Horror would go on to make a lot of films that took influence from the more lurid Eurohorror imports in the seventies, and while this shift in focus didn't always serve them well - it certainly does here! The plot focuses on a boy's school. Peggy Heller is recovering from a nervous breakdown, and she goes to stay at the school with her teacher husband Robert. Upon arrival, she discovers that the school is run by headmaster Michael Carmichael, and she soon becomes the victim of murderous attacks by a one-armed man. However, nobody believes her...

It has to be said that the plot runs rather slowly for the first hour, with the hapless victim being attacked a couple of times and facing disbelief from both her husband and the wife of the headmaster. It's always interesting, however, and this slow burning first half soon gives way to a more furious final third, where revelations about the school and its headmaster become the forefront of the story and give way to a delicious double twist. The film features performances from three big stars of British horror - the sinister Ralph Bates is perfect as the husband, while the beautiful and deadly Joan Collins provides an extra dimension and things are topped off in style courtesy of a great performance from Hammer's main man Peter Cushing. Judy Geeson holds her own in the lead role also, and the film certainly doesn't come a cropper on the acting front. It has to be said that the final twist is somewhat predictable considering the film's genre, but it's carried off well and the way that the tale concludes is both clever and exciting. Overall, Fear in the Night might not have gained the same amount of praise as Hammer's more popular offerings - but it's a damn good film and I'm glad I saw it!

Sangster's third and final film as director forsakes the Gothic trappings of the first two for the psycho-thrillers which Hammer occasionally dabbled in (inspired by LES DIABOLIQUES [1954] and kick-started by the Sangster-penned TASTE OF FEAR [1961]).

As such, it's a pretty solid entry in the genre: well-made (the last half-hour being especially tense), stylish (making subtle use of elliptical editing, careful not to go overboard as was the case with STRAIGHT ON TILL MORNING [1972]) and sporting a compact but most able cast - Judy Geeson (her inherent vulnerability is suited to this type of frightened lady role), Joan Collins (going through a horror/thriller phase at the time and who's, of course, alluringly bitchy), Ralph Bates (it took me some time to accept him in a modern setting since he's so comfortably placed in the Gothic world of his other stuff for Hammer, but there's no denying that he does quite well by his role here!) and Peter Cushing (superlative as always, he has a field day with an ambiguous characterization); incidentally, Cushing and Collins must be one of the most incongruous husband-and-wife pairings in film history!

As one can gather from the above, I liked the film quite a bit and, in fact, pondered for a while the notion of awarding it a *** rating but was, ultimately, deterred from doing so by a couple of flaws: the 'ingenious' plot is, actually, fairly predictable (but, if anything, it's even more fun to be able to anticipate the many twists involved!); however, this also means that one has to labor through a first half that is both slow and repetitive!! I do feel that it's underrated in the Hammer canon: Leonard Maltin dismisses it, for instance, but Leslie Halliwell - not usually one to bother much with the company's latter-day output - is surprisingly complimentary in his review.

While FEAR IN THE NIGHT more or less adheres to Hammer's formula for this type of film - an innocent girl having a brush with murder and madness in remote surroundings - it also draws parallels to the contemporary giallos, especially with its device of a black-gloved stalker. Incidentally, of Hammer's 10 modern suspensers, I've only got two more to catch up with - MANIAC (1963) and CRESCENDO (1970).

The Audio Commentary here proves disappointing - not because it isn't informative but, rather, due to the fact that we get an awful lot of repetition of Sangster's anecdotes from his tracks for THE HORROR OF FRANKENSTEIN (1970) and LUST FOR A VAMPIRE (1971); to be fair to him, the fault lies more with moderator Marcus Hearn - who should have come up with a fresher set of questions, as it were. Then again, I'd have expected more insight into the actual construction of the script (a psycho thriller being, fundamentally, more intricate than a Gothic horror) - but it's safe to assume that, after all these years, Sangster recalls precious little about this aspect...although he does mention that he had pitched the script to the company as early as 1963, and that it was originally intended to be set on a boat! The discussion also touches upon Hammer's other suspensers: apart from citing TASTE OF FEAR and THE NANNY (1965) as his favorite films, Sangster mentions that Orson Welles turned up unannounced one day on the set of MANIAC; in connection with the film under review - which, incidentally, brought Sangster's fortuitous association with Hammer to a close - he acknowledges the fact that Peter Cushing was basically serving the same function (i.e. a red herring) that Christopher Lee did in TASTE OF FEAR.

"Fear in the Night" is a somewhat contrived and lesser Hammer picture from 1972 that somehow still manages to work up a fair amount of suspense and one or two chilling moments. The film concerns young Peggy Heller (excellently portrayed by Judy Geeson), who, after suffering a nervous breakdown, moves with her new teacher husband to a large, private boys' school on 1,200 acres of English countryside. Poor Peggy is soon made the victim of a string of attacks by a stalker with a prosthetic hand, and her lot is hardly made more comfortable by the presence of the very strange headmaster (Peter Cushing) or his haughty young wife (Joan Collins). The film builds to a surprise ending of sorts that probably won't surprise many, especially those viewers who have already seen a certain classic Vincent Price horror movie from 1958. Still, the film does offer some compensations, including very fine performances by the actors just mentioned, as well as by Ralph Bates, playing Peggy's husband. Viewers will appreciate just how fine the acting is, perhaps, after a second viewing, with a greater knowledge of all the characters' secret motivations. The film also offers some beautiful scenery, both in terms of the autumnal Hertfordshire countryside AND Ms. Collins herself. Thirty-nine years old here, and nine years prior to incarnating TV's ultimate bitch on wheels, Alexis Carrington Colby Dexter, etc. on "Dynasty," she really is quite gorgeous to look at. (Sadly, she and Cushing, though playing man and wife, share no screen time whatsoever in this picture.) But the film belongs to Geeson, who appears in every single scene (with one major exception). Just five years after her "To Sir, With Love" debut, she turns in a very credible and ingratiating performance. Indeed, it is the sterling acting by all four principals that elevates this rather pedestrian thriller into something quite admirable indeed.

Although this is certainly not one of their more famous titles, I was actually quite impressed with this Hammer movie which is an interesting variation on the famous French thriller "Diabolique" but with four main characters instead of three. Judy Geeson is a naive schoolmarm who marries a man (Ralph Bates) who she thinks is also a schoolteacher but actually turns out to be the caretaker of an abandoned boys' school and its mentally unstable former headmaster (Peter Cushing). The headmaster in turn has a shrewish, grasping wife (Joan Collins)who spends her time cruelly blasting cute bunnies with a double-barreled shotgun. Without giving too much of the plot away, two of the characters are having an affair and scheme to drive another of the characters insane so he/she will kill the fourth character. But as usually happens, the plan goes horribly awry for almost everyone involved.

This is one of the more interesting 70's Hammer films because it actually tries to do something new rather than just mining the old Gothic formulas and monsters that served them so well in the 60's. Hammer had of course done psychological thrillers like this as early as "Scream of Fear" in 1961, but this is one kind of film that they actually refined and perfected in the 1970's (rather than beat like dead horse)with entries like this, "Straight on Until Morning", and the Gothic/psycho-thriller "Demons of the Mind". It was definitely better than Jimmy Sangster's first directorial effort "Lust for a Vampire", even though the latter was much more famous (probably owing to Yutte Stensgaard pulling her two Danishes out every five minutes). It will probably never be regarded as a Hammer classic, but is interesting film at least, which is more than can be said of a lot of their 70's product

It took Peggy Heller a long time to recover from the trauma of a brutal physical assault, suffered in her youth. When she married Robert, he provided her with the love and reassurance she craved for and the two settled down in a pretty house in the grounds of the public school where Robert was a master. But the headmaster of the school is not what he seems and Penny is convinced he means to harm her - is her fear a figment of her tortured imagination or are there forces at work that intend to manipulate her anxieties with fatal consequences?

Fear in the night, a suspense thriller with sinister undertones, benefits greatly from Judy Geeson who is mesmerising as a woman who had suffered a nervous breakdown, and is quite mentally fragile. The plot is pleasingly twisted and the climax suitably dramatic. It's a bit drawn out in the end, but it's an efficient thriller that is about uncertainty around what is real and what is imaginary. There are good performances from Peter Cushing and Joan Collins. It's well-handled by Freddie Francis, the prowling camerawork is effective, and the tension is well constructed till the end.