Fuego

Pyro... The Thing Without a Face is a film that ignites a strange and often bewildering cinematic experience. For those venturing into its smoky depths, be prepared for a bizarre concoction that feels like a hot fever dream blending elements of a Fatal Attraction-esque obsession, the lurid thrills of an Italian giallo, and the campy charm of Hammer horror schlock, all filtered through a distinctly mid-1960s Spanish lens.

The film's central dynamic echoes the dangerous allure and escalating tension of Fatal Attraction, albeit with a decidedly more surreal and less psychologically nuanced approach. A seemingly innocent encounter between a renowned hydroelectric expert, played by a bland Barry Sullivan, and a sexy widow, Martha Hyer, trying to sell - or destroy by arson - a white elephant mansion sparks a possessive and destructive infatuation, setting the stage for a descent into madness and violence. Lots of foreshadowing here: a basement full of five-gallon containers of gasolines, siphon hoses, deliberately sabotaged electrics.

However, the film's identity crystallizes when viewed through the lens of Italian giallo. The stylish visuals, often drenched in vibrant colors and punctuated by moments of shocking violence (though perhaps tamer than some gialli), create an unsettling atmosphere. The mystery surrounding the disfigured "Pyro" adds a layer of suspense, even if the execution sometimes leans towards the unintentionally comical.

There is also a strange carnival theme running throughout with the Sullivan character having an unexplained obsession with, of all things, ferris wheels.

Adding another layer to this odd cinematic stew is a distinct Hammer film schlock sensibility. The sometimes theatrical performances, and the reliance on atmosphere over intricate plotting contribute to a feeling of vintage B-movie charm. The fact that this unfolds in a remote, northern Spanish setting (rainy, cloudy Galicia) further enhances its unique and slightly off-kilter appeal.

The contrast between water and fire - Sullivan is supervising a massive hydroelectric plant with many stock scenes of water gushing out of overflow tunnels - and Hyer as a pyromaniac adds something for thought.

While Pyro... The Thing Without a Face undoubtedly possesses a certain undeniable curiosity and a retro charm that some viewers will find appealing, it's not without its flaws. The narrative can be disjointed, the pacing uneven, and the "Thing Without a Face" itself might elicit more chuckles than chills for modern audiences. The attempts at suspense can sometimes fall flat, and the overall execution occasionally struggles to fully realize its ambitious genre mash-up.

If you appreciate films that dare to be different, even if they stumble along the way, and you have a fondness for the groovy vibes of mid-1960s genre cinema, this fiery Spanish curiosity might just spark your interest.

Engineer Vance Pierson moves to Spain, where he will oversee the construction of his invention: a generator shaped like a ferris wheel. He meets a desperate young woman, Laura, who is trying to burn down her home for the insurance money she so badly needs. He stops the woman and they become passionate lovers. But soon Vance wants to end the affair he's having with Laura and go back to his wife and daughter. The jilted mistress flares up into a jealous rage and gets revenge on Vance...and he makes it his mission in life to get his own revenge on her. Barry Sullivan and Martha Hyer are excellent as the leads. Cult star Soledad Miranda appears as Liz, the daughter of a carnival worker, who falls for a mysterious older man. This was the first movie to have a $50 million set (Spain's Belesar Dam). Additionally, it was the first horror suspense movie filmed in Spain. It also was the first movie ever to be filmed in the province of Galicia, which is in northern Spain.

First of all, this is an English language film, so the title "Pyro" is appropriate. The film was made in Spain, though; with generous location scenes, it's a lovely setting. But, back to the title. "Pyro" is short for "Pyromaniac", or someone who possesses a compulsive urge to start fires. The lead characters in this film - engineer "Vance Pierson" (Barry Sullivan) and beautiful widow "Laura Blanco" (Martha Hyer) are not pyromaniacs. The motives for starting fires in the story are not those of a pyromaniac. Only little "Isabella" shows a brief moment of "Pyro"-type behavior.

Producer Sidney W. Pink's original title "The Phantom of the Ferris Wheel" was much better.

In flashback… The story is "told" by carnival attendee Fernando Hilbeck (as Julio), who becomes an associate of Mr. Sullivan, an admirer of the "Ferris Wheel". Once introduced, we see Sullivan, who appears to be happily married, meet and succumb to Ms. Hyer's seductive charms. Hyer was a model for aging gracefully, looking better in her 40s than she did in her 20s; with her fiery red shirt and black leather pants, she is irresistible. When Sullivan won't give up his wife and daughter, Hyer decides to play with fire...

The story boils down to one about infidelity and revenge, but there is a slight hint of supernatural possession in the script. Mr. Fink coordinates his "Spanish Gothic" story elements smoothly. Later on, the film adopts elements of horror. Sullivan and Hyer perform admirably, resisting the urge to overact. Mr. Hilbeck and the Spanish supporting cast are outstanding. Watch for a young Soledad Miranda (as Liz) to appear late in the third act. Beautiful women of all types can't seem to keep their hands off Barry Sullivan.

****** Pyro (5/64) Sidney W. Pink : Julio Coll ~ Barry Sullivan, Martha Hyer, Fernando Hilbeck, Soledad Miranda

Ferris wheel obsessed engineer Vance Pierson (Barry Sullivan) moves with his wife and daughter to Spain to work on a hydroelectric dam. While house-hunting, Vance meets sexy blonde Laura Blanco (Martha Hyer) as she is about to torch her run-down property for the insurance money. Instead, Vance buys the place, and subsequently starts a steamy affair with the woman. When Vance's conscience eventually kicks in and he decides to end his relationship with Laura, she flips out and sets fire to Vance's home—with his wife and child still inside. Vance rushes to their rescue, but he is too late to save them, and suffers severe burns in the process. When Laura pays him a visit in hospital, the disfigured engineer swears to hunt down Laura and her daughter, no matter where they run to.

Part Fatal Attraction style thriller, part twisted revenge horror, Pyro… The Thing Without a Face is nowhere near as cheesy as the title suggests. In fact, it is a surprisingly dark tale, dealing as it does with infidelity, betrayal, madness, murder, and even a hint of incest for good measure (Laura's comment that her daughter's father was her own father is quite the shocker). Vance, covered from head to foot in bandages, telling Laura to 'take her family and hide' is effectively chilling, as is watching him as he makes good on his word. I only wish that the ending had been as bold: rather than sparing Laura's daughter, I'd love to have seen Vance throw himself off the ferris wheel with the little girl in his arms. That would have made for an unforgettable and more fitting downbeat finale.

I watched this movie one Saturday night on Creature Features when I was about 10-years-old and it scared the hell out of me. I had to climb in bed and sleep with my mother for the rest of the night. I didn't scare easily, I had watched The Exorcist, The Omen and every other horror movie of that day, but this one did it to me. It was the shot where Barry Sullivan reveals his face and it is burned and scarred. It truly was a scary moment for me. I bought the DVD a few years ago and rewatched it. I was 35 and didn't have to go sleep with my mother, but it was still creepy. This is a pretty good movie to seek out. Even 25 years later it still had the ability to creep me out.