O Medo é a Chave

FEAR IS THE KEY is an unusual and somewhat low key thriller of the 1970s. It's based on a novel by Alistair MacLean that I should imagine few people have heard of, and it stars Barry Newman of VANISHING POINT fame. I was surprised to find out that this is a UK production because you wouldn't be able to tell from watching it. The fact that it was a flop on release means that I'd never heard of it before I saw it showing on TV.

The film begins with an electrifying opening, full of twists, sudden violence, and high speed action. Then we get a lengthy, well-shot car chase clearly included to capitalise on Newman's reputation as a 'car chase' actor, before the movie settles into a rather bogged-down, if not confusing, storyline. However, there seem to be sudden eruptions of violence around every corner, so it's never less than watchable.

Eventually, though, it all makes sense, leading to a climax with an interesting setting. Newman is an acceptable hero but I was particularly excited to see Euro-starlet Suzy Kendall's (THE BIRD WITH THE CRYSTAL PLUMAGE) appearance. The by rote villain duties are provided by John Vernon, but the real standout is an incredibly youthful Ben Kingsley - yes, complete with his own head of hair - as a henchman. By the end of its running time, FEAR IS THE KEY has offered up plentiful action, some convoluted plotting, and just a few decent twists, and I thought it passed the time well for what it is.

Drawn from Alistair McLean's book of the same name this is a solid thriller that twists and turns nicely throughout. Barry Newman is good as Talbot, the character who finds himself drawn into shady dealings. While the mobsters are adequate (including an early appearance by Ben Kingsley!).

The twist are good but if you've read the book it really takes away from the movie as there is not a whole lot else to hold the interest. However the twists keep you guessing what people's motives are almost up till the end - having said that it's not in the league of Se7en or Usual Suspects so don't expect too much.

The ending is a strange anti-climax to the film, I won't give it away but it is rather muted considering the plot up till that point.

Overall a good story but let down by a lack of any real extended tension and a disappointing conclusion. Turn off the TV and go and read the book - it's much better!

WOW! I watched this adaptation of an Alistair MacLean novel tonight and it is fantastic. Barry Newman stars as John Talbot, a drifter who ends up getting into it with the local police in a parish in Louisiana. He gets hauled before a judge but breaks out of the courtroom, taking oil heiress Sarah Ruthven (Suzy Kendall) hostage in the process. What happens after that is gonna remain a secret for the element of surprise.

This is a slammin' action film in reverse. The first half hour is comprised of an amazing car chase that is right up there with the likes of THE FRENCH CONNECTION. Seriously, this is one of the greatest (and unheralded) car chases of all-time (courtesy of VANISHING POINT's stunt coordinator Cary Loftin). After that, the film settles down to tell Talbot's complex story. Newman, also fresh off that other car chase epic VANISHING POINT, is quite good as the mysterious Talbot. Supporting turns include John Vernon (I wonder if he a good guy), Dolph Sweet and a weaselly looking guy in his film debut named Ben Kingsley. The stellar score is supplied by Roy Budd (GET CARTER).

This is a formula movie, make no mistake. It is an action-adventure, with a mystery, so I won't spill the plot. It begins with the same male hero we see in all movies made after 1940, a man so vicious and mean that the movie's idea is to turn your thinking around about the guy. And after the first few minutes you think "There is no way this guy could ever be anything but a punk", and they "getcha"! A very wonderful turnabout. The character in the movie is the key, and the screen writing, directing, and acting are superb. It maybe the only movie that you ever see that changes your mind about a character from the start, and maybe the best example of a movie which does so. What is extraordinary is that this movie has never resurfaced, and never got the credit it deserved. The end is one of the best Hollywood endings ever since "Charade".

Fine actioner based on Alistair MacLean's novel holds a few surprises for those lucky enough to catch this underrated gem. An unorthodox and at times bitty script is held together by an amiable cast including a young Ben Kingsley (debuting with a full head of hair) surprisingly in his only film before his Oscar winning performance of 'Ghandi' ten years later.

The screenplay is a crafty one, with Barry Newman ploughing through the first half of the film seemingly out of control and playing a role hauntingly similar to his one in 'Vanishing Point' but this time in a Ford Gran Torino, keeping the viewer guessing what's going to happen next and why. After a slightly boggy, espionage filled middle act the film coolly builds to a dramatic nail-biting finale and it is only here in the film's dying moments do you actually discover the truth. Though the ending may not quite reach some viewers expectations, it does wrap things up succinctly, making the thrills on the way (including a fine car chase that bursts from a courthouse breakout) all the more worthwhile.