Vingança

When it comes to horror/cult cinema, yours truly is a sucker for two things, namely long & lurid sounding titles and grisly looking vintage film posters! Half of my watch-list exists of films that are purely selected based on these two criteria, and in many cases I never really bothered to properly read what the actual plot is about. Thanks to the title and the poster, this particular movie stood extremely high on my must-see list. Admittedly the official title is the colorless and dull-sounding "Revenge", but there are the two awesome alternate titles "Terror from under the House" and "Inn of the Frightened People", and who could resist the filthy green movie poster with the image of a guy with glasses screaming and plenty of catch words and phrases like "be ready to scream!" or "you may never dare go in the basement again!" Of course I assumed this was a full-blooded horror movie, also because director Sidney Hayers already made a few great ones like "Night of the Eagle" and "Circus of Horrors", but actually this is a stern melodrama dealing with some harrowing themes like pedophilia, grieving over lost children, the hunger for justice but the lack of courage to actually kill, etc.… The film opens dramatically with the Radford family mourning at the funeral of their young teenage daughter. We learn she was killed by a child molester, but the police had to let him go due to lack of evidence. Together with another grieving father and his furious son, Jim Radford kidnaps the slimy and eerie SOB after having observed how he lives like a hermit and stops at the local elementary school to peep at the children. They beat him – Seely – up beyond recognition and keep him stashed in the basement underneath Jim's pub. The situation puts a lot of pressure on the entire family. They don't dare to release him, but neither do they dare to dispose of him for good. Meanwhile, the impact of hiding a pervert in the basement begins to have strange effects on the family relationships, notably between Jim's second wife and her stepson, and then suddenly it's not even sure anymore if Seely is really culpable. This may not have been the horror movie I expected, but it was definitely an uncomfortable and very confronting film to watch. The scenes at the beginning of the film, when the men are stalking the suspect and observing his bizarre behaviors from within the car, are eerily suspenseful and make you wonder (especially if you're a parent as well) how you would react. There are a couple of more powerful sequences, like when Seely awakens from his beating while the pub is full of customers or when Mrs. Radford has to prevent a scheduled beer delivery from happening. The acting performances are astoundingly good as well. Although one of the least flattering roles of her entire career, Joan Collins gives away a stellar performance as Carol Radford; - Jim's second wife. James Booth and Ray Barrett are terrific too, as the vengeful but petrified fathers, but Kenneth Griffith also definitely deserves to get mentioned here. Not only is his role as child molester suspect a very courageous one, he also manages to come across as simultaneously pathetic and weak and yet menacing and dangerous! Unfortunately "Terror from under the House" doesn't remain compelling throughout. The script loses a lot of its pace and impact in the second half, since the story doesn't develop. The lead characters don't make any decisions; in fact, the only thing they keep repeating when asked how to deal with their problem is: "I'll think of something". If you do manage to struggle through the disappointing second half, you'll be rewarded with a more or less strong climax but still you are left behind with the feeling that the film could have been a lot better overall.

"Revenge" (also called "Inn of the Frightened People") is a rather limp thriller. It had the makings of a very good film but muddled writing and irrational characters made this one tough going.

The story begins with a young lady being raped and murdered. Despite the family being pretty certain who it was, the police release the man for a lack of enough evidence. So, a group of friends decide to take the law into their own hands....though these are bumblers who really don't have a plan...especially when it comes to what to do with the guy after they kidnap him. Once he was taken into the basement of a local inn, one of the kidnappers beats the snot out of the guy...but doesn't quite kill him. In fact, here's a problem...no one has the stomach to finish the job....so they leave him locked up down there and hope he just dies on his own. They did NOT tie him up nor gag him....because, after all, they are all idiots.

A few days pass...and during that time the kidnappers all are emotional wrecks. Now this leads to a completely inexplicable portion...the wife of the man who beat the alleged killer/sex offender is raped by one of the gang....and she apparently likes it. And, they do it in front of the injured man in the basement. Why? I have no idea...and that brings me to the biggest problem with the film. They never seemed to have a clear idea where it was all headed...both the cast AND the screenwriter. The ending was very good....but it came way too late and seeing the captors being this stupid and disorganized just didn't make a lot of sense. A miss...and a film that should have been a lot better.

After the funeral of their young daughter, the family learns that the man who was suspected for rape and murder is let go because of the lack of evidence. The father, along with his older son and friend whose daughter was also killed by the same man devise a plan to kidnap and hopefully get the confession out of him. However things turn bad, when one slip after another leads to them turning on each other and having second thoughts that maybe they've got the wrong man.

There's potential there, but the compact, stiff script doesn't really tap into it enough and leaves plenty of the looming heavy-handed themes high and dry. Emotionally the film makes a huge dent, but more so in a bleakly intense and serious tone. The film itself is pretty fundamental and scandalously melodramatic as it rears it ugly head into brusque crudeness. Watching the characters lose control of the situation, and going on to tear each other apart as the misguided kidnapping triggers a disastrous domino effect is strangely gripping and at times rather uneasy. One interesting moment sees an unusual state of sexual tension between two characters, which has you thinking, was there something there before it erupted. Maybe it goes too over-the-top, and in doing so loses some creditability. Sidney Hayers' direction is efficiently workman-like, with little in the way of style, but he manages to draw up a tautly knitted atmosphere and milks out a few ample shocks. The violence and sexual context might not be explicit, but it's gritty and in what matters effective. Ken Hodges' sturdy camera-work is intrusively lensed and Eric Rogers' miss-guided musical score comes off daftly staged. The performances fall into the overacting category, but come off committed. Joan Collins who's no stranger to that tag, is gracefully fine and gives it her all. An edgy James Booth scorns about, and delivers a serviceable job with a complicated character trying to overcome his anger, which eventuates to guilt. Ray Barrett, Tom Marshall, Kenneth Griffith and the gorgeously rich Sinéad Cusack also star with tolerable turns.

There's flaws, but it's decently done to make it a passable cliff-hanger thriller.

This film starts out at a fair pace,but then the writer must have run out of fresh ideas and cobbled together the rest of the lcklustre plot.What is very strange is that top starred Joan Collins disappears well before the end.

Suspected paedophile child-killer Seely (Kenneth Griffith) is released by the police due to insufficient evidence. Pub landlord Jim (James Booth) and Harry (Ray Barrett), the fathers of two of the murdered children, decide to abduct Seely and force a confession from him. Together with Jim's son Lee (Tom Marshall), they bundle the man into their car and take him to the pub, where they push him into the cellar. Things get out of hand, however, and Seely is beaten up by Jim, Harry and Lee, and then strangled by the publican. The men presume Seely to be dead and try to figure out how to dispose of the body, but it later turns out that their victim is still alive, leaving the abductors with the problem of what to do next. Meanwhile, Jim's wife Carol (Joan Collins) discovers the man in the cellar, as does Jim's young daughter Jilly (Zuleika Robson), the situation spiralling more and more out of control.

Revenge starts off in great style, with the tense abduction, brutal beating and apparent killing of Seely, but once this part of is over, the film rapidly runs out of steam, as though the writers didn't know where to go next (at least until the conclusion). The script treads water for a long time, with the characters arguing amongst themselves about how they should handle the problem, whilst trying to keep a couple of pesky policemen at arms length, all of which gets rather repetitive. Perhaps the most interesting aspect of the film is the question of Seely's guillt: is the man in the cellar really a child-killer, or have they got the wrong man? This eventually comes into play in the final act, when Jim comes to believe that Seely is innocent and tries to make amends... at least until he leaves the man in the pub alone, and Jilly's pretty friend Lucy comes a-calling...

Moderately violent, with some cheap titillation from Collins (the actress appearing in her underwear), Revenge is a passable piece of British sensationalism/exploitation, but I couldn't help but feel that director Sidney Hayers could have pushed the boat out further with the overall grittiness.