Un rantolo nel buio

For a really minor film from the 70's, for some reason this one sticks with me - even this long after I saw it at a horror festival in the late 80's. Why? Maybe it's the idea that we all have secret urges and thoughts that could manifest themselves in the world, if we give them a vehicle.

Sondra Locke does a great job of being a too-mousy-for-reality girl who has a BIG secret, of which I'm not sure even SHE'S aware.

Cool ending, as well, with enough still remaining from the cuts for the viewer to get the idea.

Catch this one, if you can. You won't be sorry.

I recently had the privilege to see a brand new (from the camera negative) 35mm print of this film at the American Cinematheque here in Los Angeles. It was a Friday night, there were probably only about 20 people in the theatre. Bill Fraker and Sondra Locke were there to talk about it. I really admire this film on many levels, visually it is quite amazing, filled with haunting pastel images and eerie dark shadowy lighting. It had look and feel [and content] of a film made around the 1970-71 period as opposed to '73, and sure enough that was indeed the case. (the film was shelved for 2 years before the studio did something with it) This is yet another interesting example of the kind of strange and bold and brilliant and unconventional film that could have ONLY been made in that time. (and surely the filmmakers of the time were not aware of it--as this was just the reality of the era)

In the same kind of haunting and lonely ambience this film created, I felt depressed that these works are still so overlooked. Even now, (as of late March 2003) there is only one other comment here on the IMDB. And this person (verna55) happens to a friend of mine I've corresponded with. It seems only too apparent there is simply no audience for movies like this, except for rare, intelligent, aware people like me. On one level I'm glad to know about and connect with films like this, on another it makes me morose with utter hopelessness knowing there is simply no market for films like this. Or chance anything like it could ever be made again, especially given the way people tend to overlook and ignore the most brilliant things. But gee, thats nothing new isn't it? I hold little hope for the future of humankind, and you know what? frankly I think some kind of armageddon would be the best thing that could happen to planet earth right now. (--D. Packard, director of "Reflections of Evil")

A Reflection In Fear tells the story of a wealthy man (Robert Shaw), returning home for the first time in 15 years to see his daughter and to divorce his ex wife so he can marry his fiancé He's devastated to learn his daughter is treated like a prisoner on the estate, locked away from society by a vindictive wife (Mary Ure) and mother-in-law (Signe Hasso). Marguerite lives in a fantasy world, with imaginary friends named Aaron who seems to come real and gets very jealous of Marguerite.

I must say I watched this a while back and I was pleasantly surprised, it was a really interesting watch and I can see that this being from the early 70's has influenced many later slashers such as "Sleepaway Camp" and "Unhinged" I'd like to go into greater detail about this "debt" but doing so would ruin the surprise ending.

Sondra Locke who plays the daughter Marguerite gave a mesmerising performance She looks so fragile and vulnerable in her Alice in Wonderland dresses, she really steals the scenes from the other cast members. Robert Shaw's performance is restrained but it's because his character is supposed to be oblivious to his daughter's sexual advances. He's still the best male actor in the cast and his larger than life qualities shine through. Mary Ure, Shaw's real wife at the time, has little dialogue but is able to convey evil and hatred with just a glance. Sally Kellerman also gives a strong performance as Anne, a woman who realises her future is crumbling before her eyes.

All in all Reflection may be a forgotten gem, but I really liked it and has the presence of a strong cast and a strong story line, I would definitely recommend tracking this down.

Despite getting top billing, for much of the time you're hardly aware that Robert Shaw is even in this murky psychodrama, the story so dominated by the female contingent (including Sondra Locke's imaginary friend who who looks and sounds like a grotesque parody of Hugo in 'Dead of Night').

The film is actually shown through the large hungry eyes of Sondra Locke who plays his daughter dressed as Shaw observes "like some precocious doll".

The casting of Shaw's wife Mary Ure as Shaw's estranged wife seeking a divorce is sadly ironic since her untimely death was one of the defining tragedies of his life.

Underrated horror-thriller with an interesting cast, led capably by a young Sondra Locke as a reclusive girl, who yearns for the affections of her absent father (Shaw), as she struggles mentally with inner demons and a strained relationship with her mother (Ure) who she blames for her father's estrangement. When Shaw visits with new girlfriend in tow (Kellerman), Locke sets out to impress him with her superior intellect and creativity, but love her as he does, he's unwilling to 'rescue' her from her unhappy existence with her mother. As he prepares to leave again, he's confronted with a series of unexplained events including fatal accidents, murder and twisted sanity.

It's the stuff of nightmares; the haunting score, lighting, and especially Locke's performance contribute to a chilling, suspenseful tale that is at times, graphically violent and gruesome. Shaw delivers another watchable performance as the increasingly concerned father, while Kellerman (aside from being breathtakingly attractive) is equally effective as an innocent bystander and unwilling witness to the unfolding madness.

A first rate cast, professional production values and intelligent dialogue all deliver, but somehow, this minor thriller seems to go perpetually unnoticed. The plot might not be rock solid, and there's undoubtedly some narrative weaknesses, but invest a little time and latitude, and you should be repaid handsomely. Great fright night fare.