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CRUD Challenge: The Terror
Feb. 12th, 2023 07:13 amThe Terror (1963) dir. Roger Corman
Lieutenant Andre Duvalier (Jack Nicholson) of Napoleon's French army is separated from his unit and very lost. His compass has stopped functioning, and he's no longer even sure what country he's in. It's probably one occupied by France at the height of the Empire, though. Rapidly approaching the end of his rope, Andre is led to water by a girl who claims to be named Helene (Sandra Knight). Helene has the disconcerting habit of walking into hazardous terrain and then vanishing the moment Andre is distracted.
Local wise woman Katarina (Dorothy Neumann) claims that there is no such girl, and that "Helene" is the name of her trained hawk. Her not quite mute servant Gustaf (Jonathan Haze), on the other hand, claims that the girl is connected to the nearby castle. Said castle is inhabited by Baron Victor Frederick von Leppe (Boris Karloff) and his faithful manservant Stefan (Dick Miller). They also claim that there is no girl, but a portrait of the baron's deceased wife Inga strongly resembles Helene.
Soon, the mysterious girl is putting in appearances at various places, never quite being pinned down. But is she a living woman named Helene, Inga's vengeful ghost, or something else entirely?
This Roger Corman quickie is disjointed, in part because it was cobbled together from several directors' shooting, including Francis Ford Coppola and Jack Nicholson. This works decently if you accept that the story works on nightmare logic and isn't actually supposed to make sense when analyzed. Especially with a couple of twists towards the ending, and one big reveal that should help the movie make sense but is subsequently ignored. I saw this film in a poor print that washed out any benefit from the cinematography.
Nicholson is very young here, and plays more as the generic male lead than the distinctive "type" he would rapidly grow into. Andre seems mostly to be acting out of an instant attraction to Helene, ignoring warning signs, and then frustration that everyone else seems to be hiding the truth from him. He abuses his military rank to get his way--while he's separated from his unit now, if they ever catch up he'll have real power.
Karloff, conversely, was in his seventies by this point and honestly too old for the character he's supposed to be playing. (One can only assume that twenty years cooped up in the castle have done a number on the baron's health and appearance.) He does well with the material he's given.
Sandra Knight at least gets a part with some range to it, even if it isn't internally consistent. Nightmare logic to the rescue, and she is apparently not in full control of her actions through much of the story.
Content note: A couple of gruesome deaths, one involving injury to the eyes. Suicide is attempted, and discussed as "the one sin God will not forgive."
This is a lesser movie for everyone involved, but is in the public domain so easily found, Most suited for completists of the various actors and directors but can be enjoyed on its own merits if you don't have high expectations.
Lieutenant Andre Duvalier (Jack Nicholson) of Napoleon's French army is separated from his unit and very lost. His compass has stopped functioning, and he's no longer even sure what country he's in. It's probably one occupied by France at the height of the Empire, though. Rapidly approaching the end of his rope, Andre is led to water by a girl who claims to be named Helene (Sandra Knight). Helene has the disconcerting habit of walking into hazardous terrain and then vanishing the moment Andre is distracted.
Local wise woman Katarina (Dorothy Neumann) claims that there is no such girl, and that "Helene" is the name of her trained hawk. Her not quite mute servant Gustaf (Jonathan Haze), on the other hand, claims that the girl is connected to the nearby castle. Said castle is inhabited by Baron Victor Frederick von Leppe (Boris Karloff) and his faithful manservant Stefan (Dick Miller). They also claim that there is no girl, but a portrait of the baron's deceased wife Inga strongly resembles Helene.
Soon, the mysterious girl is putting in appearances at various places, never quite being pinned down. But is she a living woman named Helene, Inga's vengeful ghost, or something else entirely?
This Roger Corman quickie is disjointed, in part because it was cobbled together from several directors' shooting, including Francis Ford Coppola and Jack Nicholson. This works decently if you accept that the story works on nightmare logic and isn't actually supposed to make sense when analyzed. Especially with a couple of twists towards the ending, and one big reveal that should help the movie make sense but is subsequently ignored. I saw this film in a poor print that washed out any benefit from the cinematography.
Nicholson is very young here, and plays more as the generic male lead than the distinctive "type" he would rapidly grow into. Andre seems mostly to be acting out of an instant attraction to Helene, ignoring warning signs, and then frustration that everyone else seems to be hiding the truth from him. He abuses his military rank to get his way--while he's separated from his unit now, if they ever catch up he'll have real power.
Karloff, conversely, was in his seventies by this point and honestly too old for the character he's supposed to be playing. (One can only assume that twenty years cooped up in the castle have done a number on the baron's health and appearance.) He does well with the material he's given.
Sandra Knight at least gets a part with some range to it, even if it isn't internally consistent. Nightmare logic to the rescue, and she is apparently not in full control of her actions through much of the story.
Content note: A couple of gruesome deaths, one involving injury to the eyes. Suicide is attempted, and discussed as "the one sin God will not forgive."
This is a lesser movie for everyone involved, but is in the public domain so easily found, Most suited for completists of the various actors and directors but can be enjoyed on its own merits if you don't have high expectations.
