L'Halluciné

... which are mostly crap, copied from old nth generation prints full of dirt and splices and bad sound. I never saw THE TERROR when it was originally released but I did see TARGETS, which incorporated footage from the earlier film a few years later. The footage from TERROR was crisp, sharp, and beautifully photographed. Seeing it when it was new must have been an entirely different experience. On the other hand, audiences then didn't have the advantage of hindsight. They didn't know that the young lead would go on to become possibly the most successful actor of his time. And they certainly wouldn't have suspected it from THE TERROR. Jack Nicholson is handily out-acted by virtually everyone else on the screen, including his then buddy Dick Miller. Karloff shines, bringing the same sly relish to his wittier lines that he brought to THE BODY SNATCHER many years before. The guy was the king of horror movies, no question about it. Everyone knows the backstory: shot on leftover sets from THE RAVEN (and possibly, if I'm not mistaken, THE HAUNTED CASTLE) with plenty of stock footage from PIT AND THE PENDULUM and HOUSE OF USHER. Most amusing (to me) was the way no one could agree on how to pronounce the name Gustav, whom Nicholson at one point addresses as "Gust-off" (although he comes closer in a later scene). If you're a fan of classic horror (or B-movie lore) you should give THE TERROR a look. Its creaky atmosphere is oddly charming.

For a film calling itself 'The Terror', Roger Corman's unpolished and critically hounded horror film isn't very terrifying. In fact, by the time the credits role there's a good chance that you'll sit there bewildered asking yourself what, exactly, you've just spent the last eighty minutes of your life on. There's a good reason for this, as The Terror is an almost complete waste of time; it offers nothing in the way of intrigue, invention or influence on the genre, nor does the plot have any kind of point and, to be honest, it's not all that interesting anyway. However, The Terror gains points for protruding that lovely Roger Corman style quickie sort of atmosphere, and for excellent performances from classic horror icon, Boris Karloff, and a man that would go on to set the acting world on fire a decade later; the inescapably excellent, Jack Nicholson. The film has an awesome amount of camp and cult value for these two performances, Nicholson especially as it's always fun to see a highly rated actor in an early, and much less highly rated role.

The point of The Terror would appear to be the classic Roger Corman 'point' – "let's make some money!" and the penny-pinching style that Corman perfected over the years is evident in just about every cheap looking scene. The plot follows a French solider (Jack Nicholson) who travels to the castle of the resident baron in search of a girl he met while stranded in the local village. While there he discovers a lot of terror (or not) as we find out that the baron is harbouring a secret. The secret can be guessed within the first half of the film, and that's another area where the film fails, but it's kept alive by a constant stream of ridiculous goings on, and as the film moves closer to it's climax and the lines get more terrible and the plot becomes more ridiculous, you cant help but treat yourself to a good laugh. People that rate films objectively will hate the Terror, but for the cult fans and Roger Corman fanatics; this will fill a gap, and although it's instantly forgettable; there's worse ways to waste your time.

In 1806, the French Lieutenant Andre Duvalier (Jack Nicholson) is lost from his regiment and riding near the coast very thirsty. Out of the blue, he sees a gorgeous woman that shows him a spring. Then she tells her name, Helene (Sandra Knight), and she walks with him and vanishes into the sea water. Andre tries to save her but is attacked by an eagle and faints. He awakes in the house of and old woman, Katrina (Dorothy Neumann), and sees the eagle that belongs to her. He learns that her servant Gustaf (Jonathan Haze) has saved him. When Andre asks for Helene, Katrina tells that she does not know her. Andre walks during the night seeking out Helene; when he meets her, she asks him to follow her and brings him to a spot with quick sand, but Andre is saved by Gustaf again. He tells to Andre that Helene is possessed and he would find the answers at the castle of the Baron Victor Frederick Von Leppe (Boris Karloff) where he should ask for Eric. On the next day, Andre leaves Katrina's house and heads to the castle. He is received by the Baron himself and sees the picture of Helene on the wall. However he leans that the woman is Ilsa, the Baroness Von Leppe, who has been dead for twenty years. Further, the Baron lives alone in the castle with his butler Stefan (Richard Miller). Later he learns that the Baron found Ilsa in the bed with a man named Eric and he killed her and Stephan killed Eric. But Andre saw the woman at the window when he arrived at the castle. What is the secret of Helene?

"The Terror" is an entertaining low-budget movie by Roger Corman with Jack Nicholson and Boris Karloff. The plot is interesting and it is curious to know that Corman used sets left over from "The Raven". Boris Karloff's scenes were shot in three days only. Unfortunately the Brazilian DVD has a blurred image and it is very difficult to distinguish the characters and locations. My vote is seven.

Title (Brazil): "Sombras do Terror" ("Shadows of the Terror")

Enjoyment of this film will depend on two things. First how much you like the actors involved. The second is the understand that this film was pieced together from scraps of film shot by various directors to fit in with footage that had been shot of Karloff on left over sets after the original feature had been finished. If you can forgive your favorite actors anything and accept that this is a paste up job, then you'll have yourself an okay time at the movies.

Lets face it this film is a mess. The story of a French soldier following a mysterious woman to a castle is so disjointed that they actually shot a scene where Jack Nicholson grabs one of the characters and asks him whats going on, its at that point all of the loose ends are brought together in a tenuous grip.

Its the sort of movie that shouldn't work on any level but some how does.Its well acted considering that no one probably had any idea what they were starring in. Its also directed well enough that you don't realize that there were actually five directors other than Roger Corman behind the camera.

Currently floating around in the public domain (cheap video copies are to be had) this is a movie worth seeing if you want to see how Jack Nicholson started or how Boris Karloff ended up. Its a just okay thriller with a more interesting production history. Worth a bag of popcorn if you need another movie to fill out a night of Corman Poe movies.

Legend has it that Roger Corman filmed The Terror over a frantic four-day period; the truth is rather more interesting, as it undoubtedly contributed to the film's remarkable, incomparable, mesmerizing texture. After production wrapped on The Raven, Corman had Karloff, Nicholson, and the Raven's sets for four remaining days, so he hurriedly shot what he could before the walls came down and his stars departed. He then dispatched various acolytes, including Francis Coppola, Dennis Jakoub, Monte Hellman, Jack Hill, and Nicholson himself to produce enough footage to make The Terror into a complete feature. The result is a unique, fascinating, intensely visual and cinematic experiment that makes Corman's previous Poe adaptations look overly literary, plot-laden, and dialog-bound. The Terror may not be very logical, and its story will not withstand much scrutiny, but the film succeeds as a feverish nightmare of obsession and mad love. The photography, especially of the Big Sur locations, and of the fog bound studio cemetery sets, has an intense eerie romantic beauty, and Ronald Stein's remarkable score underscores The Terror's uncanny equation of desire and death. Is it cheap? Yes. Are there mistakes and screw ups? Sure. Does the continuity falter? Absolutely. None of this matters. The Terror is extraordinary in its palpable dream-like intensity. Oh, and by the way: an elderly, sick, practically crippled Boris Karloff, who could have easily tossed this off as an imposition, is terrific as always and a wonder to behold.