Dan Curtis is an unsung television legend. He cut his teeth as the creator of the beloved spooky soap opera Dark Shadows that ran from 1966-1971. He also wrote and directed it. Then he produced the two classic TV movies The Night Stalker and The Night Strangler (directing the second) which eventually evolved into the cult series Kolchack: The Night Stalker. He went on to direct more '70s horror films for the small screen that today are looked back on as seminal and groundbreaking, including The Norliss Tapes, Trilogy of Terror, Dead of Night and Dracula (with Jack Palance). By the '80s he would also make his mark producing the enormous WWII miniseries The Winds of War and War and Remembrance. But surprisingly, other than a pair of quickie Dark Shadows spin-off movies made to cash in on the success of the show, he only directed one theatrical film, his own adaptation of Robert Marasco’s 1973 best-selling horror novel Burnt Offerings. Seeing it today, it is hard to believe it was a theatrical film, with its washed out colors and fade-outs after each act as if commercials are about to come on. It looks just like one of Curtis’ '70s TV movies -- and that’s just one of the reasons I love it.
Marasco’s novel and Curtis’ film predate two massive books and movies with similar threads, The Shining and The Amityville Horror, by a few years. In fact, along with titles like Don’t be Afraid of the Dark, The Legend of Hell House, Let's Scare Jessica to Death, The Sentinel and (from Japan) Nobuhiko Obayashi‘s House, as well as countless TV movies, they help make the '70s the golden age of haunted house flicks. One of the many points that gives Burnt Offerings the edge over its competition is its cast made up of all-time scenery chewers; as the nice family in peril you have Karen Black, Oliver Reed and Bette Davis. Yes, Bette Davis! And she’s fairly contained compared to the other two. As the kid you have perennial '70s TV kid Lee Montgomery. (At this point, the fifteen-year-old was already an on-set veteran and probably ready for Reed’s mugging, having acted alongside George C. Scott in his self-directed vanity ham-off The Savage is Loose).Continue Reading
The Fallen Idol
Though Carol Reed strangely won an Oscar for his direction of the forgettable Oliver (in the '60s they gave lots of awards to those bloated musicals), he is actually best remembered for his bona fide masterpiece, The Third Man, which he made almost twenty years earlier. Wrongly many uninformed pseudo film historians often try to give Orson Welles credit for the film, even though he only popped on to the set for a few days to film his towering supporting performance. Yes, the film does have a "Wellesian" vibe stylistically, but the real truth is in the two movies Reed made just before it. They prove that he was already moving in a sorta Noir-lite direction, first with the acclaimed Odd Man Out and then his other great film, The Fallen Idol. Though one might describe the latter as a “little gem” it carries much more depth and style than most of the British-made thrillers of the day and in the end it can just about stand as an equal to the more beloved The Third Man. Both films are also part of Reed’s trilogy of films written by the great English novelist Graham Greene. (The trio also includes the lesser known Our Man in Havana). And though Reed would have an up-and-down career over the years--with solid films like Trapeze, many misses and the over-rated Oliver--it was the mega-bomb Mutiny on the Bounty starring Marlon Brando that really sank him reputation-wise (a film I actually adore, but I’m in the minority). But that one-two punch of The Fallen Idol and The Third Man will always solidify him as one of cinema’s greats.
For The Fallen Idol, Greene adapted the script from his own short story “The Basement Room” and it’s a really nifty one. As the son of the French Ambassador living in London, little eight-year-old Philippe (the very good kid actor Bobby Henrey, in the first of only two feature film credits) has the run of the big embassy as his parents are usually away. He is more or less raised by the butler and maid, Mr. and Mrs. Baines (Ralph Richardson and Sonia Dresdel). The rambunctious French kid is always getting scolded by the uptight and abusive Mrs. Baines but he utterly adores Mr. Baines and his ridiculous stories of past adventures in the wilds of Africa. One day Philippe follows Mr. Baines out of the house and stumbles on him in the midst of an emotional scene with another Embassy employee, the pretty French secretary Julie (Michèle Morgan). Since the whole film is through the boy’s eyes, he doesn’t fully understand the two are in the midst of a torrid affair, complete with the drama of one of them being married. Hoping to help his friend, Philippe becomes the center of secrets between the adults, eventually leading to a stormy fight between the married couple and an accident that leaves Mrs. Baines dead, with Philippe confusedly thinking Mr. Baines did it. Unfortunately, as the police investigate the accident all the secrets and lies between Philippe and Baines confuse the kid more, and as he tries to cover for Baines he only helps to make the police think Baines murdered his wife.Continue Reading