Sous l'emprise du démon

A storm in a tea-cup is how to describe the glaring reputation formed by this obviously influenced Hitchcok-like, British slow pot-boiler psycho-thriller. At its core is a very daring, but questionable theme (or better put taboo) that landed it in hot-water with the media when released, as it opens with a disclaimer ruling out the scientific connections between siblings of mongoloid children being linked to criminal behavior. Well it must have been effective in some shape, as that's one way to get your film noticed! Screenplay/writer Leo Marks wouldn't be wet behind the ears to controversy, due to the fact he wrote the story for chillingly sleazy 1960 'Peeping Tom' that saw director Michael Powell's work getting heavily cut.

Martin Darnley is a coldly smart, but considerably nurtured and lonely young lad of a wealthy family that sees his mother smother him, while his domineering step-father wants to get rid of him and his mongoloid brother hospitalized. Assuming a false identity under Georgie; a nice, but mentally back-wards boy he meets a young lady Susan Harper who he takes a real shine too. Under certain circumstances and made-up stories he finds himself staying at a lodging house owned by Susan and her mother Joan.

Where it goes on to spark the interest and really builds around is the dark and unnerving psychological interplay of Martin (with a magnificently conniving and edgy performance by Hywel Bennett) manipulating and preying on the goodwill of others to adapt and form his new identity for ones own gain. The biting (if heavy-handed an absurd) material really does complement the calculative, random and moody ambiance, where it demonstrates a glassy sort of tension awaiting to break from the dramatic actions of the progressively plotted layout. This is more so character-based, than anything related to thrills. Bernard Herrmann's grandiosely sizzling score eerily caresses with the catching whistling rift by Bennett's character striking a cord. Director/writer Quentin Tarantino would sample the jarring whistle tune in 'Kill Bill Vol. 1'. Most of the suspense arose from Herrmann's masterful arrangement, than anything visually. Roy Boulting does an accomplished job directing, even with some stretched-out moments it remains curiously gripping throughout and the expressive camera-work takes shape to where it reaches its hysterical climax. The lovely ladies that appear are a terrific Haley Mills as Susan and Billie Whitelaw is absolutely great as her mother Joan. There's also a boisterous Barry Foster appearing as one of the lodgers.

Not at all bad. From an uneasy, start complete with voice-over to try and mitigate the non PC nature of the main thread of the film, this builds very nicely to a very decent climax. Hywell Bennet is most effective as the young man who tries to break from his mother and Hayley Mills surprisingly good playing against type.

If it hadn't been for the controversy surrounding the film regarding 'Mongols', she may have gone on to a much more interesting career. Good pacing and fleshed out secondary characters help to make this an absorbing psycho thriller, with some quite nasty moments and a splattering of blood.

In 1960, two respected British directors debuted shocking psychosexual thrillers, to mixed critical and commercial receptions: Alfred Hitchcock with 'Psycho,' and Michael Powell with 'Peeping Tom.' Both films were shocking in their time, and their influence on low-budget 1960s horror can't be overstated. Roy Boulting's 'Twisted Nerve (1968)' is a typical Hitchcock rip-off, but of the serious, stylish Brian De Palma mould, rather than the schlocky comic-horror of William Castle. The film introduces us to Martin Durnley (Hywel Bennett), the younger brother of a man suffering from "mongolism," the condition now known as Down Syndrome. Though seemingly healthy a birth, it seems that young Martin has developed some psychopathic, psychosexual tendencies, inextricably linked to a chromosomal mismatch at conception. Martin pretends to be mentally-challenged in order to get into bed with the virginal Susan (Disney favourite Hayley Mills, later the director's much-younger wife), only to instead capture the attentions of Susan's lonely mother (Billie Whitelaw) – did I mention this film was rather twisted?

Though the film treats its absurd, gloriously un-PC narrative with the utmost seriousness, it is nevertheless startlingly effective at capturing the main character's psychoses. Bennett's performance is menacing and pathetic in equal degree, playing a sort of introverted Alex DeLarge, whose wicked intentions are always bubbling beneath an otherwise honest exterior. 'Twisted Nerve' also features a maddeningly catchy musical theme, memorably recycled in Tarantino's 'Kill Bill: Vol. 1 (2004),' composed by Bernard Hermann, who by this time was estranged from Hitchcock on account of his rejected score for 'Torn Curtain (1967).' Nevertheless, it's clear that Alfred Hitchcock himself both saw and enjoyed 'Twisted Nerve,' as he cast both Barry Foster and Billie Whitelaw in his own back-to-basics British shocker 'Frenzy (1972).' Due to controversy surrounding its depiction of Down Syndrome, the film opens with a spoken announcement that attempts to shirk responsibility for its political incorrectness, but without much luck. I probably wouldn't have it any other way.

When I watched Twisted Nerve I wasn't aware of its controversial reputation and that it was quite a difficult film to get hold of. I was a little surprised to discover both those facts to be honest. The controversy that it caused in its day was due to the genetic theory put forward that siblings of Down's syndrome children are predisposed to criminal behaviour. The main character in the film suggesting that this theory to be true. I can see the offence that could cause but at the end of the day this is a thriller and not really to be taken very seriously. I have seen lots of murder-mystery's where the culprit is unmasked and their actions are explained by some ridiculous pseudo-science. And I think that is what needs to happen with Twisted Nerve – take it with a pinch of salt. As far as it being hard to get hold of and not seen by many – I have even noticed it appear on a public domain collection – that is even more surprising because this is a pretty solid thriller with a lot of good things about it. It doesn't exactly break the mould but it is still very good.

It centres on a young rich layabout called Martin who is molly-coddled by his mother but disliked by his step-father. The feeling is mutual though and Martin is forced to leave home but with murderous intent. He adopts the persona of Georgie – a boy with the mental age of a child – in order to dupe his way into the boarding house of a girl he is obsessed with and to enact his deadly scheme.

There's a pretty good cast in this one. Hywel Bennett is very good in the central role of Martin/Georgie. It's a character that requires a fair bit of range from cold psychopath to wide-eyed innocent. Bennett delivers the goods though and ensures that we believe in his character. Hayley Mills plays the girl he lusts after; she is good in the role and cute as a button. The cast is rounded out with a couple of strong performers. Billie Whitelaw is Mill's mother, who is a lost soul who takes in extra money by sleeping with the guests, one of which is played by Barry Foster, an obnoxious fellow not a million miles away from the character he would play in Alfred Hitchcock's Frenzy. In fact the film as a whole owes a fair bit to Hitchcock itself, especially Psycho but also the likes of Marnie. Its emphasis on the psychological but with moments of violence and suspense certainly puts it in the Hitchcockian ball-park. Another similarity is the Bernard Herrmann soundtrack. In this one he once again shows he has an ear for the eerie with the disquieting main whistling theme which is very distinctive indeed. It was unsurprisingly and tediously stolen by Quentin 'I've seen lots of films and I want you to know about it' Tarantino for Kill Bill Vol.1.

I guess you would have to classify Twisted Nerve as a cult movie. One that seems to operate under the radar and one that is well worth checking out if you enjoy psychological thrillers.

Twisted Nerve is a rather well made film that deals with the psychopathology of a 21 year old man. His illness is "triggered" when he leaves his troubled home (a rich demanding father and infantilizing mother) to live as a border in the home of a college student (Haley Mills) and her mother (Billie Whitelaw).

The film works especially well when his sexuality is aroused by both Haley Mills and Billie Whitelaw, with disastrous results.

The movie takes its time to unfold. Although it does have some shocking scenes, this film isn't your typical slasher/psycho movie, as the advertisements suggest, its much more than that.