Homicide

This is yet another classic from William Castle, the king of the gimmicks. The gimmick used for this film, often compared with "Psycho", was the idea of a "Fright Break" during which the viewer has 30 seconds to determine if they want to see the 'terrifying' conclusion to the film. When released in theaters initially, there was a separate section that patrons could go to during the "Fright Break". Gimmicks aside this is a very well crafted, often goofy, and quite effective little thriller. The murders, acting, and storyline are all over the top and everyone in the movie puts on quite an effective performance. Standing out in her role as Emily is Jean Arliss. It seems that Emily is quite disturbed as the movie opens with an alarming murder sequence. The story goes downhill from there and, just when you think you have all of the answers, the film changes the questions! The ending is very shocking for first time viewers and yet this is the kind of film that also gets more and more entertaining with each additional viewing. Highly recommended for horror fans, even though it's often compared with "Psycho" I feel that the film stands out on it's own and it's ending is actually more effective than Hitchcock's. Watch this movie, you won't regret it!

Universally bombed by the critics--but they miss the point. This was classic Saturday matinee fare--and it was quite effective back in 1961. William Castle put his special touch on it and produced a quite entertaining, if campy take-off on a more famous varietal. OK, the acting was rather bland, perhaps to be expected from Glenn Corbett and Pat Breslin and a lesser known cast, but Jean Arless stole the show, with kudos also to Eugenie Leontovitch. This wasn't the best of the Castle fare, that award belonging to "Mr. Sardonicus" easily, but there were enough scares and suspenseful moments in "Homicidal" to titillate the adolescent (as I was then) in all of us TRUE horror film buffs.

"Homicidal" is a very strange movie. It's among the best of William Castle's gimmicky horror films, but unlike any of them. Fans of "camp" should have a field day with this one. Jean Arless plays a fascinating part, but her obvious disguises and stilted acting are sorely out of step with everyone else's naturalistic looks and behavior. However, the story is absorbing, clever and ultimately entertaining. Films that take their cue from "Psycho" normally make me bristle, but this time it's actually quite interesting to catch the references as they continue to pile up (There are so many). Would love to know what Hitchcock thought of this movie.

This is among the director's most popular works, being the one that overtly played him up as a potential rival to Alfred Hitchcock (complete with Castle's cheeky introduction a' la Hitch's own TV appearances); at the same time, its deliberate nods to PSYCHO (1960) did not really endear it to critics but, of course, audiences at the time lapped it up… which only goes to prove just how much of a milestone the Hitchcock classic was when it first emerged and has remained so over the years through countless imitations!

Anyway, taken on its own merits, the film is certainly an above-average chiller for Castle – yet one is left wondering whether he was audacious or foolhardy in his approach towards the all-important plot twist; Hitchcock was certainly wiser in keeping "Mother" in the background, whereas Castle throws the secondary personality of the titular figure in our faces almost from the get-go! Indeed, the prologue should have been omitted entirely – as it really gave the game away to discerning viewers. The transvestism element, then, elicits unwarranted comparisons throughout with Ed Wood's notorious GLEN OR GLENDA? (1953) – but the PSYCHO borrowings, at least, are fairly well integrated into the narrative: a stint by the blonde leading lady at a run-down motel, a near-brush with the Law, a nosy investigator, an invalid also staying at the house, the put-upon young couple, etc. Having said that, the aforementioned prologue, the sadistic mistreatment of the latter character and the underlying "greed is the root of all evil" theme clearly anticipate the next phase in Horror film-making: the "Grand Guignol" chillers spearheaded by Robert Aldrich's WHAT EVER HAPPENED TO BABY JANE? (1962)…

Still, while it also has an early and would-be shocking (because apparently unprovoked) murder – that could have pointed out to yet another childhood sexual trauma in other scenarios – one cannot sensibly compare the impact of the bloody yet extremely clumsy stabbing of James Westerfield with the legendary shower sequence from PSYCHO involving Janet Leigh! Incidentally, even if we do get to hear the two personalities speak in the same sequence (as Anthony Perkins did in the earlier film), their never actually appearing together – to say nothing of the man's distinctly effeminate appearance – should have alerted audiences as to the nature of the ruse (not that her eventual uncovering – preceded by the gimmicky 45-second "Fright Break" – is totally ineffective, unlike her ultimate come-uppance…which comes off as rushed)! Casting-wise, it is obviously Jean Arless (actually Joan Marshall, who adopted the pseudonym so as not to be typecast, but her subsequent roles were negligible at best!) who makes the biggest impression, whereas Eugenie Leontovich's stroke victim – with her incessant banging to attract attention – gets on one's nerves very quickly!

I fell in love with horror at an early age and before my parents bought a VCR I had to stay up and watch these movies on late night TV, I have very fond memories of doing so. I must have been 12 or so when I watched Homicidal for the first time and I'm not afraid to admit that it made the hairs on the back of my neck stand up and sent shivers down my spine. I have just re-watched it, this time on Blu-Ray, sadly it did not have the same scare effect but I still found it to be a good watch. Made just one year after Hitchcock's masterpiece "Psycho" this was an early entry in the popular 1960's and 70's psycho thrillers, indeed one could say that these and Italian Giallo would later mould what we call "slasher" movies. The psycho here is a young attractive blonde woman called Emily who is nurse to a mute and crippled old lady in a large Californian house. Emily's murderous habit is revealed early in the film when she stabs to death a man, very graphic for the time. The movie is now rated 12 in the UK, this first killing is the only gory point to be fair and the rest of the film is pretty tame. Jean Arless plays Emily, a 30 year old rather unconvincingly playing a 20 year old. The film was made by William Castle, king of the gimmicks, Homicidal is perhaps best know for its 45 second "Fright Break" just before the finale. In 1974 Amicus films had a "guess the werewolf" break in their "The Beast Must Die". So Homicidal wasn't as scary as I first remembered it to be but it is still a good psycho, gender bending thriller that comes not only with a fright break but also an introduction by Castle himself and looks great in black and white.