O Homem Sem Face

Pyro... The Thing Without a Face is a film that ignites a strange and often bewildering cinematic experience. For those venturing into its smoky depths, be prepared for a bizarre concoction that feels like a hot fever dream blending elements of a Fatal Attraction-esque obsession, the lurid thrills of an Italian giallo, and the campy charm of Hammer horror schlock, all filtered through a distinctly mid-1960s Spanish lens.

The film's central dynamic echoes the dangerous allure and escalating tension of Fatal Attraction, albeit with a decidedly more surreal and less psychologically nuanced approach. A seemingly innocent encounter between a renowned hydroelectric expert, played by a bland Barry Sullivan, and a sexy widow, Martha Hyer, trying to sell - or destroy by arson - a white elephant mansion sparks a possessive and destructive infatuation, setting the stage for a descent into madness and violence. Lots of foreshadowing here: a basement full of five-gallon containers of gasolines, siphon hoses, deliberately sabotaged electrics.

However, the film's identity crystallizes when viewed through the lens of Italian giallo. The stylish visuals, often drenched in vibrant colors and punctuated by moments of shocking violence (though perhaps tamer than some gialli), create an unsettling atmosphere. The mystery surrounding the disfigured "Pyro" adds a layer of suspense, even if the execution sometimes leans towards the unintentionally comical.

There is also a strange carnival theme running throughout with the Sullivan character having an unexplained obsession with, of all things, ferris wheels.

Adding another layer to this odd cinematic stew is a distinct Hammer film schlock sensibility. The sometimes theatrical performances, and the reliance on atmosphere over intricate plotting contribute to a feeling of vintage B-movie charm. The fact that this unfolds in a remote, northern Spanish setting (rainy, cloudy Galicia) further enhances its unique and slightly off-kilter appeal.

The contrast between water and fire - Sullivan is supervising a massive hydroelectric plant with many stock scenes of water gushing out of overflow tunnels - and Hyer as a pyromaniac adds something for thought.

While Pyro... The Thing Without a Face undoubtedly possesses a certain undeniable curiosity and a retro charm that some viewers will find appealing, it's not without its flaws. The narrative can be disjointed, the pacing uneven, and the "Thing Without a Face" itself might elicit more chuckles than chills for modern audiences. The attempts at suspense can sometimes fall flat, and the overall execution occasionally struggles to fully realize its ambitious genre mash-up.

If you appreciate films that dare to be different, even if they stumble along the way, and you have a fondness for the groovy vibes of mid-1960s genre cinema, this fiery Spanish curiosity might just spark your interest.

Ferris wheel obsessed engineer Vance Pierson (Barry Sullivan) moves with his wife and daughter to Spain to work on a hydroelectric dam. While house-hunting, Vance meets sexy blonde Laura Blanco (Martha Hyer) as she is about to torch her run-down property for the insurance money. Instead, Vance buys the place, and subsequently starts a steamy affair with the woman. When Vance's conscience eventually kicks in and he decides to end his relationship with Laura, she flips out and sets fire to Vance's home—with his wife and child still inside. Vance rushes to their rescue, but he is too late to save them, and suffers severe burns in the process. When Laura pays him a visit in hospital, the disfigured engineer swears to hunt down Laura and her daughter, no matter where they run to.

Part Fatal Attraction style thriller, part twisted revenge horror, Pyro… The Thing Without a Face is nowhere near as cheesy as the title suggests. In fact, it is a surprisingly dark tale, dealing as it does with infidelity, betrayal, madness, murder, and even a hint of incest for good measure (Laura's comment that her daughter's father was her own father is quite the shocker). Vance, covered from head to foot in bandages, telling Laura to 'take her family and hide' is effectively chilling, as is watching him as he makes good on his word. I only wish that the ending had been as bold: rather than sparing Laura's daughter, I'd love to have seen Vance throw himself off the ferris wheel with the little girl in his arms. That would have made for an unforgettable and more fitting downbeat finale.

1963's "Pyro" is a Spanish title known as "Fuego" (Fire) in Spain, more broadly known as "Pyro - The Thing Without a Face" or "Pyro - Man Without a Face," or "Phantom of the Ferris Wheel" (its most appropriate moniker). Producer Sidney W. Pink, previous purveyor of "The Angry Red Planet," "Reptilicus," and "Journey to the Seventh Planet," first conceived of the script as "A Cold Wind from Hell" (this would be his favorite film), AIP once more footing the bill for international production, their contract star Vincent Price up for the role of Vance Pierson shortly after his visit to freezing Rome for "The Last Man on Earth." Perhaps his busy Hollywood schedule resulted in a casting change that enabled Barry Sullivan to accept, not so charismatic but playing a part that requires as much with at least three potential female lovers on hand. Despite being advertised as a horror film (and a flop in the US), the picture certainly doesn't play out that way, the carnival music opening showing us Pierson's family life coinciding with his engineering work, requiring him to move to Spain to begin construction of a circular generator (he displays a passion for all things round). While searching for suitable accommodations he comes upon an estate that looks promising, only its pyromaniac owner, supposed widow Laura Blanco (Martha Hyer), already has a full proof plan devised to burn the whole thing down to collect the insurance money. Before you can even perceive 'playing with fire,' he's falling into bed with this crazy pyromaniac mother, a literally burning affair that goes on for five months, to the obvious consternation of Pierson's wife (Sherry Moreland) and daughter (Pilarin Gomez). He rationalizes all of this to his own, self involved satisfaction: "my home has always been too peaceful, home sweet home, you are war...as long as we keep peace at home, I'll be needing violence!" Careful what you wish for Vance, because once you decide to end this relationship, your firebug playmate just won't take it lying down, replaying her original intention to now torch the house with his wife and child asleep inside. Setting out on a business meeting before a proper reconciliation, his partner wisely turns back, only too late to save the deceased, poor Vance forced to leap from his bedroom window completely engulfed in flames that produce fourth degree burns that no surgeon can restore to normalcy (shades of Peter Lorre in "The Face Behind the Mask"). Why Laura isn't immediately arrested and put away goes unexplained, her impromptu visit to him at the hospital allowing him the opportunity to swear vengeance by doing to her family what she did to his, after which he vanishes for 15 months. Reports of Laura's mother and maid perishing in a fire have authorities wondering if Pierson is beginning to make good on his threat, now posing as all around mechanic Peter, moving all about as part owner of a traveling carnival where he manages the ferris wheel with help from his partner's daughter Liz Frade (Soledad Miranda). How his human mask closely resembles his former features, and why none of the investigators recognize him is also a mystery, but he does locate his lover's island hideaway, living with a daughter who shows the same dangerous habits as her fiery mother (like John Huston and Faye Dunaway in "Chinatown," incest is suggested but never truly confirmed for we learn nothing about the missing father or dead husband). The entire first half takes its time setting up the pivotal moment when Laura's insane plot bears fruit, the second half inexplicably trying to turn this obviously psychotic murderess into a frightened victim.

In PYRO... THE THING WITHOUT A FACE, Vance and Verna Pierson (Barry Sullivan and Sherry Moreland) are the happily married parents of a lovely daughter. Vance is a successful engineer, spending his off hours searching for his dream home.

One day, Vance stumbles upon a house where a woman named Laura (Martha Hyer) is about to commit arson. The two hit it off, and an affair ensues. Things get complicated when Vance decides to break it off. Laura's not ready for this, and her firebug ways reemerge with horrific results.

This movie is a grim story of fiery death, anguish, and vengeance. Sullivan is very convincing in his tortured, sympathetic role. His singular mission isn't merely revenge. He's trying to blot out the agony of what happened to his family. An agony that can't be extinguished.

This film deserves to be more widely known...

I watched this movie one Saturday night on Creature Features when I was about 10-years-old and it scared the hell out of me. I had to climb in bed and sleep with my mother for the rest of the night. I didn't scare easily, I had watched The Exorcist, The Omen and every other horror movie of that day, but this one did it to me. It was the shot where Barry Sullivan reveals his face and it is burned and scarred. It truly was a scary moment for me. I bought the DVD a few years ago and rewatched it. I was 35 and didn't have to go sleep with my mother, but it was still creepy. This is a pretty good movie to seek out. Even 25 years later it still had the ability to creep me out.