Paixão e Crime

Roald Dahl has always been a good story-teller, and this movie, for which he wrote the screenplay, is no exception. It's a macabre love story with a somewhat unexpected ending. Very good acting and story-telling. I recommend this film for all Roald Dahl fans. 7/10.

The difficult mother-daughter dynamic in "The Night Digger" instantly put me in mind of "Grey Gardens." We have Patricia Neal as the caretaker for her elderly mother, Pamela Brown, living live together in a dilapidated mansion. Brown is superficially friendly but often caustic, intolerant and manipulative, seizing on her daughter's guilt and self-doubt to keep her at home.

Neal has become increasingly regretful of the years she's spent tending to her mother's needs, as she thinks back on lost loves and missed career opportunities. The scenes between Neal and Barker are meaty enough to make up their own film, and Neal delivers a real master class in film acting. She's utterly believable in her every word and mannerism.

Like "Grey Gardens", the pair take in a young handyman to fix up their property. Despite Neal's initial hesitation, she grows increasingly fond of and attracted to the young man. Unfortunately for her, he turns out to be a *deeply* troubled individual, and the movie takes a macabre and progressively disturbing turn. Ultimately, this movie left me utterly heartbroken, despite occasional relief provided by screenwriter Roald Dahl's famously perverse humor.

"The Night Digger" is one of one of those boundary pushing, perverse psychodramas that the late 60s and early 70s provided us in ample supply. Although imperfect, this sits nicely alongside the likes of landmarks like "Reflections in a Golden Eye" and "Secret Ceremony."

Many people will say that this film was a botch up job of Joy Cowley's novel, but they would be wrong.

While I have to admit that the type of filming they used in the 70's is not among my favourite, it worked well for this film because it gave you insight into how each character saw things.

Patricia Niel was perfect as the spinster who was stuck caring for her blind and horrid adoptive mother, and who slowly but surely becomes sexually aware of the young drifter, played by Nicholas Clay.

Some parts of the film are vaguely confusing, but one comes to grasp them after rolling the idea around in ones mind for a while.

This film was very well done for an era that produced some awful movies that completely butchered famous books, and used skin instead of actual acting to portray a film.

The Night Digger aka Road Runner is a very watchable film, that sneaks up on you rather than attacks you head on like some psychological thrillers do.

I have seen this film last week on TV. I am glad that the there are English subtitles so that I can clearly enjoy the dialogue. Only it is pity that the English subtitles from TCM are kind of closed captions that cannot be taken for recording.

Different than the comment of another Dutch viewer from 2006, I find this film a rather nice good movie. The maker has put quite some different (thrilling, creeping, emotional, romantic) components to the movie, but not into deep touch by purpose. If one is specially looking for or fond of a particular type of movie from one of these components, one may not feel satisfied enough. However I am glad that the maker had made it in this way that the movie content becomes "rich" in a special way. It makes the film as a whole quiet thrilling, creeping, emotional and even bit romantic too. It is not boring at all, I enjoy every moment of the movie. Making a film to a particular type/direction of course is a heavy job but to combine different type of components in a fine way is not easy too.

The film is quite moving that I have only realized at the end that it is already a film of 110 minutes. It is not boring at all, I have enjoyed every moment of the movie. Yes, this is not a film made for award nomination, but both the director and the leading actors have done a pretty good job. If you watch the film carefully you will realize that the film is quite fine made. From their fine work, you can see and feel the style of the early 70's British films. It is a small budget production, but still leaves some compelling moonshine. I simply like this movie.

The ending indeed is quite a critical way. I have never read the novel. I don't know whether the end is the same as the movie. I wonder if the director has extended and refined the ending for about 10 minutes more, will the ending be then a bit better than a shortcut? On the other hand, I have the feeling that it seems that the director has deliberately made the ending in this stunning way that it now leaves us crossing feelings and questions that makes the movie still time to time staying on our mind.

It may not be a top A-film, but it is a little gem which absolutely is worthing to see.

I give it 7.75 out of 10.

As others have said, this movie was written by British poet/author Roald Dahl as a vehicle for his wife, American actress Patricia Neal. (I thought of it recently after seeing a similar American movie "Happy Mother's Day, Love George" that featured Neal and the couple's real-life daughter Tess Dahl). The basic story is pretty good. Neal plays a lonely spinster whose domineering mother rents a room to a traveling road worker (Nicholas Clay), and Neal's character finds herself drawn to the handsome, younger man, unaware that he might be a serial killer who has buried a string of female victims along the road he is building. . .

This definitely works as a vehicle for Neal, who is probably most famous for the Paul Newman movie "Hud" (even though her character in that was supposed to have been African-American, but such a thing would have simply been too incendiary in the early 1960's). She is very good in this. Unfortunately, she doesn't get a lot of help. Nicholas Clay would later play Lancelot in "Excalibur" and appear with an all-star cast in Agatha Christie's "Evil Under the Sun", but he was just too inexperienced here. For whatever reason, there was a plethora of handsome but psychotic young men in British movies at this time, and this role might have been better played by another "handsome young psycho" actor like Shane Bryant or Hywell Bennett (although neither of them might have been very convincing as a roughneck construction worker). If it have been made a decade or so earlier though, it would have been a PERFECT role for a young Oliver Reed.

The directing is also a little flat generally, but the first murder (following a motorcycle ride) is pretty inspired. The Bernard Hermann score is not one of his best, but it does add SOMETHING to the proceedings. This isn't great, but it certainly deserves to be more widely seen.