This early '70s British/Spanish co-production is more interesting than most of the other horror/sci-fi flicks its countrymen were putting out in its day. It’s also the best Peter Cushing/Christopher Lee flick of the '70s. Horror Express plays like a mad mesh-up of The Thing, Murder On The Orient Express, Night Of The Living Dead, and Nigel Kneale’s Quatermass series. It may be a wacky low-budget affair, but it’s actually an eerie little genre masterpiece.
Anthropologist Alexander Saxton (Lee) boards the Trans-Siberian Express in 1906 with a crated fossil of what he believe to be the "missing link." A mad Rasputin-like monk (Alberto de Mendoza) becomes obsessed with it, declaring it the devil and waking it from its deep slumber. When it escapes and starts killing passengers, Saxton must team up with his rival, Dr. Wells (Cushing), to destroy it. The scientists study its retina and learn that it came to ancient Earth from outer space a la The Thing. And also like The Thing it seems to be able to take the form of the people it mind-melds with, causing the killing to continue.Continue Reading
The train movie has always been a favorite genre of mine (Horror Express, Runaway Train, Narrow Margin, Emperor of the North Pole, etc). Going back to the silents (The Great Train Robbery) the train trip has been used famously as a murder mystery setting (Murder on the Orient Express, The Lady Vanishes), a place for romance (North by Northwest), action (The Cassandra Crossing, Breakheart Pass), comedy (The General), and horror (Terror Train). In 1976 director Arthur Hiller wasn’t exactly sure what genre he wanted - romance, action, comedy. Though sometimes messy, his Silver Streak did mange to breathe some life into the train picture and it ended up being a perfect piece of genre-bending entertainment.
With a screenplay by Colin Higgins, who had written the cult flick Harold and Maude and would go on to write and direct another solid romantic-action-comedy, Foul Play with Chevy Chase, Silver Streak stars Gene Wilder. As one of the era’s most unique comic talents, the role feels very un-Wilder-like. Mater of fact it could have been Chase, Elliott Gould, George Segal, Burt Reynolds or any leading man of the mid '70s. It’s not until just over the half way mark when Richard Pryor enters and infuses the film with a fresh energy, bringing out the more manic Wilder that audiences had grown to love. After getting a co-screenwriting credit on the Wilder flick Blazing Saddles, but nixed as an actor, Silver Streak would mark Pryor and Wilder’s first onscreen comedy together. They would follow it with the sometimes hilarious Stir Crazy and then the mostly terrible Another You and See No Evil, Hear No Evil. But Silver Streak is the film that really best showcases the yin and yang of their different comic styles.Continue Reading