Torment

This thriller is truly odd.Two brothers are novelists sharing a big house and a secretary.They are both writing murder mysteries.John Bentley is in love with the Secretary Rona Anderson.Dermot Walsh is too,only she doesn't love him.Unfortunately Dermot is barking mad.We know this because not only does he kill a visiting ex convict but also the family cat.Unfortunately Walsh's performance is so over the top that that the film is totally unhinged.It becomes unintentionally funny.Walsh sets up a situation where Bentley goes off on a wild goose chase giving him the opportunity to kill Anderson.However Bentley arrives back in time to prevent it.The climax is just as daft as what had proceeded it.

This slick little drama that marks John Guillermin's first solo feature nails it's colours to the mast straight from the outset when we witness an intruder strangling a cat.

Despite the fact that someone dies violently, and there's breathless talk about 'evil', the film never really manages to decide whether its a light-hearted jaunt or a heavy psychological thriller - John Wooldridge's music for the most part suggesting the former and Gerald Gibbs' photography the latter - a dichotomy embodied in the two male leads who view writing crime fiction as very different vocations: nice brother John Bentley who treats it just as a fun way of making a living; while Dermot Walsh as "the moody unpleasant one" who takes it all far too seriously.

TORMENT is quite an unusually plotted little murder mystery film, made by the little-known Advance Productions who only made three films. I saw it on the Talking Pictures TV channel under the title PAPER GALLWOS. Although the running time is a scant 77 minutes, it feels quite slow-moving, particularly in the first half which doesn't really add much in the way of plotting or character.

The storyline is unusual in teaming up two British B-movie stars, John Bentley and Dermot Walsh, as brothers who are both mystery writers. They should have added Paul Carpenter as the long-lost Canadian brother while they were. Bentley is his usual stock heroic figure, warm, likable, and humorous, while Walsh is more sinister, a man given over to deep brooding and nefarious plots.

Much of the plot hinges around a witnessed murder and the subsequent disappearance of the corpse, which was a typical plot development in this genre of film-making. Michael Martin Harvey (THE CASE OF CHARLES PEACE) has a nice little role as a scoundrel. Things only really pick up here for the climax, which is admittedly well mounted, although it comes too late to save what has been a rather murky and unbelievable thriller. Lead actress Rona Anderson was known for her role in SCROOGE and had a lengthy career in film and TV, while director John Guillermin is of course well known for going on to direct Hollywood classics like THE TOWERING INFERNO.

I discovered this little known British crime thriller from 1961 via Talking Pictures TV, which does a great job of celebrating old, largely forgotten British B movies from the black & white era. Like other reviewers here, I found the film unusual and slightly odd, but my overall assessment is perhaps more generous than theirs. Yes, it is very stagey and over-the-top in places, but ultimately its exploration of malevolent sibling rivalry is strangely compelling. Dermot Walsh (Echo of Diana, The Breaking Point) gives a convincing portrayal of a brother consumed by jealous rage, who not only harbours murderous fantasies but is quite capable of turning them into reality. Rona Anderson (Scrooge 1951, Noose For A Lady) is also effective as the object of rivalry between the two brothers. The film follows her gradual transformation from relaxed, over-trusting secretary to the terrified victim of an egotistical psychopath who enjoys watching others suffer just for the sheer hell of it.

Some aspects of the plot seemed fanciful, or just plain odd. The first unwitting murder victim is an ageing and frail ex-convict. The screenplay doesn't really explain how he came to befriend the two brothers, who are clearly from a different social class (which would have mattered in those days). Was it because they were crime writers and got to know him through their research? Nor does it explain why he is not greeted at the front door when he visits them, but instead enters an open door only to wander alone round the empty house before meeting his grim fate in a storeroom. I tried to figure this out but couldn't, which was a distraction. However, once these early confusing scenes are over, the film shifts gear and heads towards an exciting climax as the jealous brother executes his demonic plan to dispose of his sibling's love interest.

In summary, this is not a great film by any means, but its portrayal of psychological rage is surprisingly stark for the period in which it was made, when there was a strong tendency for British directors to temper violence with inappropriate sentimentality. In contrast, this film does not pull its punches, making it quite a thrilling ride, especially towards the end when it becomes a life-and-death struggle betwen the feuding brothers. If you like the better quality 'second feature' British B movies from the 50s and 60s, there is a good chance that you will enjoy this.