Terror Dentro da Noite

Engaging tale of a band of thieves whose plan to take a child and his grandfather hostage in their plush London townhouse, to extort money from the child's wealthy mother, is short-circuited by a rampaging Black Mamba that's been mistakenly brought into the mix. Intriguing to see how the plan unravels as the inimitable Klaus Kinski and his accomplices fall prey one by one to the elusive predator, its venom more deadly than any other species of snake. Cornered by the law on the outside, and the aggressive asp from within, they must adapt and improvise to affect a miraculous escape, no longer concerned with money, but basic survival.

Taut little suspense-thriller enabled by a strong cast, decent dialogue and well-paced direction. Kinski as the main protagonist is chilling, and he's well supported in Oliver Reed as the boozy henchman and Susan George as an unlikely (and unlucky) accomplice. Also noteworthy is Nicol Williamson as the dedicated police inspector who finds himself at the helm of a tense stand-off between the bandits, their captures and the unpredictable rogue reptile. While Sterling Hayden's characterisation of an aging ex game hunter is somewhat vague and incidental to the plot, it does add another dimension to the proceedings that stirs the curiosity and colours the complexity of an otherwise straightforward yarn.

Effective use of sets, lighting, music and tight editing nicely complement the occasional sadistic and surprisingly graphic violence. The snake itself, sometimes portrayed by a replica, is also well staged and looks convincingly hostile. Understated and somewhat obscure considering its impressive credits (Tobe Hooper was also linked with the film early on, but parted ways with the project), "Venom" is a compelling hostage thriller, cleverly bolstered by an unorthodox twist, and is well worth the time.

I've just had the pleasure of re-acquainting myself with this forgotten gem of early '80s British horror which scared me half to death as a little kid.

"High concept" years before the term was invented, the plot ostensibly hangs on a series of belief-stretching co-incidences which result in a hostage siege taking place in a posh London home, with the police camped outside and a deadly (as we are repeatedly reminded) black mamba snake loose in the heating ducts.

Made many years before CGI came along and gave us bloated nonsense like Anaconda and Snakes on a Plane the film-makers had to be fairly economical with their beastie's screen time. Going down the Jaws route , Venom makes highly effective use of POV camera shots, shadowy lighting and an unsettling score (an early work from the much missed composer Michael Kamen; and no, I have not forgotten that he was also responsible for that Bryan Adams monstrosity) to suggest the snakes' presence. When the creature is fully revealed it is more often than not the exceedingly dangerous real thing; borrowed from London Zoo, and provoked into getting the hump in the direction of the nearest camera by their, at the time, resident reptile expert Michael Ball (who gets both an un-credited cameo in the film, and himself played by a cranky Michael Gough in to the bargain).

However, all of these slithery shenanigans are a mere aside to the real terror on show here. The casting of the infamously intense and insane Klaus Kinski opposite the famously drunk and antagonistic Oliver Reed. By all reports these two hated each other on sight and spent the whole shoot at war with each other, with Reed referring to Kinski as a Nazi at every possible opportunity. However, what must have a nightmare situation for director Piers Haggard (parachuted in after Tobe Hooper walked with shooting already under way) as they share virtually every scene together, paid off in dividends as the warring actors enthusiastically pour every ounce of their scenery-chewing one-oneupmanship onto the screen. Stir into this mix a few more well-renowned "difficult" actors: Nicol Williamson (The famously OTT Merlin from Excalibur) getting his Sweeney on, Sarah Miles, and Sterling Hayden among them; and what results is a glorious bombast of angry intense thesping, that grabs this would-b-movie by the balls and drags it into "forgotten classic" territory. A daft, wonderful, guilty pleasure. Seek it out.

This is a much maligned film. Given the fine acting and the really Hitchcockian development and story line, this thing delivers in a big way. I don't want to give away the story line, but let's just say that while snakes play a part in it, this is not a shlocky horror film. In fact, the storyline doesn't revolve around snakes; they're more of a plot device. This is a thriller of the best caliber. The British actors are some of the finest ever cranked out and the claustrophobic atmosphere seems to drive you even crazier. If you are afraid of snakes, then you'll be gut wrenchingly terrified (I was). If you aren't, then you'll still be glued to your seat. Watch it and if you dare, do it with the lights off!

A trio of kidnappers headed by Klaus Kinski plan to snatch a young boy, but things go awry & through a series of unforeseen events they're hold up in the house with a deadly venomous snake. Pretty taunt & lean thriller. Most of the actors do a fine job. One of the better killer snake movies out there.

My Grade: B-

DVD Extras: Director's commentary; Theatrical trailer; 4 TV spots; poster & stills gallery; Bios for Klaus Kinski & Oliver Reed

In 1981, Oliver Reed was in a tough situation. His days of drinking to excess and playing games with his mates from the pub had taken a heavy toll on his purse strings. Moreover, the upkeep on his palatial manor house Broome Hall practically crippled him financially. He was forced to choose film roles that, frankly speaking, were beneath him. It is somewhat disheartening that, by 1983, he had starred in two hammy films about killer snakes, William Fruet's 1983 offering 'Spasms,' and 1981's 'Venom.'

'Venom', directed by Piers Haggard, pairs Reed with the ever-eccentric Klaus Kinski, as a pair of bungling kidnappers targeting the grandson of a hotel magnate. They successfully snatch the child, holding him hostage in his home, but their plans slither into chaos. Unbeknownst to the criminals, the boy inadvertently brought a Black Mamba with him, which escapes. As the situation deteriorates, the police surround the house, while the Mamba, lurking in the ventilation system, stalks his prey; fangs poised to strike.

A schlocky flick, it makes for a highly entertaining watch- for all the wrong reasons. Haggard fails completely to generate tension. Like a drunk on a tightrope, he struggles to balance the thriller and horror elements. The film is neither suspenseful nor tense, and the threat of the snake never feels more menacing than a misplaced garden hose. The dialogue is stilted and unnatural, while the narrative is as predictable as the setting sun. Moreover, the police procedural elements are dull and cliched, while the interplay between the kidnappers and their quarry seems ripped from an 'Idiot's Guide To Storytelling'.

It is a ridiculous film, the appeal of which comes from the general incompetence of Haggard's direction, the tacky snake POV shots and the over-the-top performances from the cast. The cinematography from director of photography Gilbert Taylor- who did impactful work on numerous films, from Roman Polanski's 'Repulsion' to Richard Donner's 'The Omen'- is nothing to write home about. His shots lack visual flair or creativity, while the lighting is flat, and his compositions conventional.

Michael Kamen's score is similarly uninspired, while the editing is frequently choppy and disjointed. However, while the aforementioned snake POV shots- which were also prominently featured in 'Spasms'- are tacky, adding to the film's unintended campness, the fact that a real Mamba was used in certain sequences is commendable and effective.

There is an undeniable charm to the film's absolute absurdity. It's sheer, silly fun, bolstered by the central performances from Reed and Kinski. Reed, a maestro of brooding, silent thuggery, is terrific. He embraces the over-the-top nature of the film with gusto, yet plays the material utterly straight, delivering his lines as if he's performing Shakespeare. His commitment to the role is so earnest that you can't help but be captivated.

Kinski, probably the most temperamental actor to have ever graced the screen, seems to be in an intensity contest with Reed. To paraphrase Spinal Tap's Nigel Tufnel, he turns it way past eleven. Watching Kinski is like watching a live wire sparking dangerously close to an open gas line- rivetingly unpredictable. He is so over-the-top, he's practically orbiting Mars. Apparently, he and Reed did not get along during filming (what a surprise, Kinski not getting along with someone); explaining why the tension between them feels so genuine. Their eccentric duel of egos adds unique, unintentional comedy to the film.

Susan George also has a small role as their accomplice Lousie, seeming bewildered as to why she's in a snake-based chiller. Sterling Hayden, as the hotel magnate, looks like he's wandered onto the set by accident, and acts like it too. Sarah Miles, as a snake expert, plays the material with a hilarious seriousness, while Nicol Williamson, as the main cop, phones it in completely; though is such a fine actor, he actually impresses.

In conclusion, Piers Haggard's 'Venom' offers a glimpse into Oliver Reed's latter career, marked by financial desperation and a willingness to take on any role. As a horror and a thriller, it fails completely, though as an unintentional comedy, it works wonders. The over-acting from Reed and Kinski is a constant delight, while the Black Mamba POV shots are always good for a laugh. Although the narrative, dialogue and cinematography doesn't impress, it's still a fun film worth watching. In short, though 'Venom' might not slither to greatness, it does have a bit of unintentionally comedic bite.