British horror/sex shocker about an overbearing mother (played by Ann Todd), her psycho son Kenny (Tony Beckley) and a very strict religious cult, led by Patrick Magee (great actor but this is far from being his best performance). Pre-opening credits we see a young boy being baptised by being immersed in water at the cult's chapel, at the same time a young woman is chased, stripped and thrown dead into water. Early on we see that Kenny is the killer, so there is no mystery in that respect. His mother relationship reminded me of Norman Bates in "Psycho" (1960), they both live in a large Gothic house, only Norman's mother was dead, Kenny's isn't (though she is very ill). There is plenty of female eye candy amongst the cast, and also female nudity, including one scene with full frontal. The murders are fairly vicious but nothing to write home about. I watched the uncut version which is rated BBFC 15, I dread to think how tame the heavily cut X version would have been. I did find it laughable how two young women were happy to accept lifts of a stranger (Kenny in his van). One corpse can be seen breathing and the inclusion of three pop songs throughout the movie proved detrimental to my viewing pleasure, I will add that the film is also a bit boring at times and relies on the kills and nudity to liven it up. Pete Walker made far more enjoyable British shockers than this, The Fiend is watchable but unremarkable.
18 Reviews
Chapel of ghouls.
HumanoidOfFlesh4 February 2011
The main character of Robert Hartford-Davis "The Fiend" is an emotionally disturbed religious nut.He loses grip on his sanity and sets off on a killing spree murdering prostitutes and other sexually active women."The Fiend" is a mildly interesting British serial killer flick with sleazy atmosphere and the background of religious fanaticism.The script is quite warped with religious rituals and misogynistic murders.The gospel songs are fantastic and the killings are nasty.One victim is found skewered on a meathook.I haven't seen Robert Hartford-Davis "Corruption",but I'd like too.If you are a fan of sleazy British horror give "The Fiend" a look.6 gospels out of 10.
Shepherds of the Nation
gavcrimson2 October 2001
Warning: Spoilers
SPOILERS INCLUDED In 1972 sex and horror movie magazine Cinema X ran an article entitled 'How do you like your screen dollies? A-lively or..dead'. The article juxtaposed stills from Ray Selfe's Sweet and Sexy to represent 'A-lively' and stills from The Fiend to represent 'dead'. The Fiend press pack sent to Cinema X evidently consisting of little more than stills of dead, topless actresses either drowned, buried in cement or in one grisly case hung up on a meat hook. The article was subheaded 'one thing director Robert Hartford-Davis can do. He can sure make a corpse look sexy'.
In fact Hartford-Davis was no stranger to sex and death cinema, having directed what's believed to be Britain's first story-driven sexploitation film (The Yellow Teddybears-1963). In the horror film arena he'd directed the infamous Corruption(1967), in which you get to see Peter Cushing butchering a prostitute and Carry On-starlet Alexandra Dane discovering a severed head in a fridge. Although dated today Corruption was the first sign (or warning if you will) of a grittier strain of horror films that would come into force in the 1970's. Hartford-Davis' final horror film The Fiend concerns the Brethren an evangelical movement under the command of 'The Minister' (Patrick Magee). Birdy (Ann Todd) a spinster has dedicated her life to the Brethren which includes handing her house over to the minister for his meetings (and what a motley crew the Brethren are). Her son Kenny (Tony Beckley) ups the ante by murdering women in an attempt to save their souls. Kenny also records his killings on audio-tape, later playing them back while having introspective conversations with his victim's bras. Supporting his mother by having duel jobs as a lifeguard and a security officer Kenny also uses these two occupations to further his third career as a serial killer. Outraged when a girl takes her top off at the pool Kenny follows her home with murder on his mind 'the day of retribution is at hand'. His security officer getup also comes in handy when terrorizing Hammersmith prostitutes. In one brutal sequence, Kenny disrupts one such woman servicing some old geezer, and before beating her around the head with a truncheon the 'nutcase bloody bible thumper' jams a torch into the girl's mouth. Which given the way we're introduced to the prostitute character in the film leaves little to the imagination as to what that torch is perversely symbolic of. Birdy takes an instant dislike to Brigitte a local nurse hired to care for the fail old woman. Brigitte is genuinely troubled by the Brethren, particularly the minister's rule forbidding the use of medicine since Birdy is a diabetic and closet insulin user. Brigitte's sister Paddy a chain-smoking journalist encouraged by her kin to write an expose of the Brethren, poses as an unwed mother-to-be in order to join the fold. Her appearance seems to bring out long repressed desire in Birdy and when the minister finds out she's been having 'foul thoughts' he orders Birdy to fast effectively issuing a death sentence to the diabetic. A desperate rush to administer her an insulin shot ensues, Paddy tries but is inadvertently stopped by Kenny, who locks her in the cellar. Finally standing up to the bullying minister Kenny storms upstairs to administer the shot, but he's too late to save her and literally exerts some biblical vengeance on the minister. Hartford-Davis was apparently driven to make The Fiend after being upset by reports of religious fanatics who forbid their followers the use of blood transfusions and medicine. The resulting film spares you none of his anger, but is also evidence of his exploiteer's eye for a good story milked for all its topical and sensationist worth. Brigitte seems to act as Hartford-Davis' mouthpiece when upon being told religion isn't that cool a subject in the Seventies she replies 'but this is different its so sick something ought to be done about those crank religions'. Inevitably today the film is usually spoken about in the same breath as the films of Pete Walker, particularly The House of Mortal Sin(1975) which similarly works religious iconology into its death scenes. Even though it was made at a time when Walker was just emerging from his School For Sex/nudie-cutie era, The Fiend anticipates Walker's heavy handed use of 'messages' and even his nuances for a headstrong heroine and an ineffectual male hero (amusingly played here by Ronald 'Uncle Quentin' Allen). Censor cuts inflicted on the film largely eliminated the angle the Cinema X article was written from. However in the uncensored print (surprisingly shown recently on UK TV!) the female nudity from actresses pretending to be dead, adds another unhealthy layer to the film. Tony Beckley (who died of cancer in 1980) is hard to fault as Kenny, Beckley also looks the part and his gaunt, sickly features would result in some memorable character bits in the period like the alcoholic in The Lost Continent(1968) and one of the gangsters in Get Carter(1971). It seems likely Beckley was cast here on account of his turn in 'british roughie' The Penthouse(1968) where he played a similar loose screw (who could forget his five minute rant about baby alligators). Another much missed actor Patrick Magee is equally memorable, relishing the minister's fire and brimstone monologues as only Magee could. And The Fiend sits alongside the varied likes of A Clockwork Orange, Dr Jekyll and the Women and Sir Henry at Rawlinson End as film's benefiting greatly from the work of this eccentric, intense actor. Although not without its fair share of tedium, The Fiend stands as one of the more interesting films in Hartford-Davis' hot and cold filmography. Wildly out of place musical numbers from one of the Brethren ('sing sister') recorded in an echo chamber, as well as the idea that Ann Todd on a church organ could produce the funky track 'wash me in his blood' are rare funny moments in another wise dark and bleak piece of work indeed.
In fact Hartford-Davis was no stranger to sex and death cinema, having directed what's believed to be Britain's first story-driven sexploitation film (The Yellow Teddybears-1963). In the horror film arena he'd directed the infamous Corruption(1967), in which you get to see Peter Cushing butchering a prostitute and Carry On-starlet Alexandra Dane discovering a severed head in a fridge. Although dated today Corruption was the first sign (or warning if you will) of a grittier strain of horror films that would come into force in the 1970's. Hartford-Davis' final horror film The Fiend concerns the Brethren an evangelical movement under the command of 'The Minister' (Patrick Magee). Birdy (Ann Todd) a spinster has dedicated her life to the Brethren which includes handing her house over to the minister for his meetings (and what a motley crew the Brethren are). Her son Kenny (Tony Beckley) ups the ante by murdering women in an attempt to save their souls. Kenny also records his killings on audio-tape, later playing them back while having introspective conversations with his victim's bras. Supporting his mother by having duel jobs as a lifeguard and a security officer Kenny also uses these two occupations to further his third career as a serial killer. Outraged when a girl takes her top off at the pool Kenny follows her home with murder on his mind 'the day of retribution is at hand'. His security officer getup also comes in handy when terrorizing Hammersmith prostitutes. In one brutal sequence, Kenny disrupts one such woman servicing some old geezer, and before beating her around the head with a truncheon the 'nutcase bloody bible thumper' jams a torch into the girl's mouth. Which given the way we're introduced to the prostitute character in the film leaves little to the imagination as to what that torch is perversely symbolic of. Birdy takes an instant dislike to Brigitte a local nurse hired to care for the fail old woman. Brigitte is genuinely troubled by the Brethren, particularly the minister's rule forbidding the use of medicine since Birdy is a diabetic and closet insulin user. Brigitte's sister Paddy a chain-smoking journalist encouraged by her kin to write an expose of the Brethren, poses as an unwed mother-to-be in order to join the fold. Her appearance seems to bring out long repressed desire in Birdy and when the minister finds out she's been having 'foul thoughts' he orders Birdy to fast effectively issuing a death sentence to the diabetic. A desperate rush to administer her an insulin shot ensues, Paddy tries but is inadvertently stopped by Kenny, who locks her in the cellar. Finally standing up to the bullying minister Kenny storms upstairs to administer the shot, but he's too late to save her and literally exerts some biblical vengeance on the minister. Hartford-Davis was apparently driven to make The Fiend after being upset by reports of religious fanatics who forbid their followers the use of blood transfusions and medicine. The resulting film spares you none of his anger, but is also evidence of his exploiteer's eye for a good story milked for all its topical and sensationist worth. Brigitte seems to act as Hartford-Davis' mouthpiece when upon being told religion isn't that cool a subject in the Seventies she replies 'but this is different its so sick something ought to be done about those crank religions'. Inevitably today the film is usually spoken about in the same breath as the films of Pete Walker, particularly The House of Mortal Sin(1975) which similarly works religious iconology into its death scenes. Even though it was made at a time when Walker was just emerging from his School For Sex/nudie-cutie era, The Fiend anticipates Walker's heavy handed use of 'messages' and even his nuances for a headstrong heroine and an ineffectual male hero (amusingly played here by Ronald 'Uncle Quentin' Allen). Censor cuts inflicted on the film largely eliminated the angle the Cinema X article was written from. However in the uncensored print (surprisingly shown recently on UK TV!) the female nudity from actresses pretending to be dead, adds another unhealthy layer to the film. Tony Beckley (who died of cancer in 1980) is hard to fault as Kenny, Beckley also looks the part and his gaunt, sickly features would result in some memorable character bits in the period like the alcoholic in The Lost Continent(1968) and one of the gangsters in Get Carter(1971). It seems likely Beckley was cast here on account of his turn in 'british roughie' The Penthouse(1968) where he played a similar loose screw (who could forget his five minute rant about baby alligators). Another much missed actor Patrick Magee is equally memorable, relishing the minister's fire and brimstone monologues as only Magee could. And The Fiend sits alongside the varied likes of A Clockwork Orange, Dr Jekyll and the Women and Sir Henry at Rawlinson End as film's benefiting greatly from the work of this eccentric, intense actor. Although not without its fair share of tedium, The Fiend stands as one of the more interesting films in Hartford-Davis' hot and cold filmography. Wildly out of place musical numbers from one of the Brethren ('sing sister') recorded in an echo chamber, as well as the idea that Ann Todd on a church organ could produce the funky track 'wash me in his blood' are rare funny moments in another wise dark and bleak piece of work indeed.
Ultra low-budget non-horror silly propaganda piece
Hardylane11 February 2007
A truly dreadful film, seen during the night on BBC2, but glad I saw it! A fairly comprehensive anti-religion film... anyone who comes into contact with it becomes maniacs! Superb! Notable for yet another Patrick Magee scenery-chewing exercise, a host of unknown actors who remained unknown, and a truly jaw dropping series of appalling songs, sung by the "Shirley Bassey" Stars in their Eyes winner, Maxine Barrie (in her younger days!). Poor dear had to wait over 20 years for public recognition. If I were her, I'd buy all the prints and burn them! Definitely a B-movie for showing in a double bill with some cheapo Hammer concoction, but unintentionally funny in places.
If you like horror ... avoid this one!
rickymartin006514 September 2004
Do you like horror? Yes? Good ... well, then I advise you to avoid this one and if you ever see it in the videostore, leave it peacefully on its shelf. Do you like splatter or gore? Avoid it, there's no single gory effect. Unless you consider amateuristic filmed murder scenes as splatter. Do you like horror with some laughs? Avoid it, because there's nothing to laugh about (no, more to cry about!) Do you like decent Amicus or Hammer productions, with charismatic actors like Cushing or Lee? Avoid it, because the story line is sooo boring, almost nothing happens and nobody can act. All the characters are very lame (annoying mother, annoying priest, annoying murderer) and I really had to keep myself awake and sit through this piece of crap. Even that other bad movie "The Beast From The Cellar" is better then this one. Ladies and gentlemen, AVOID this one. A movie that shows you how paint is drying, is much more exciting!
Boring and frightening
iph-114 February 2007
This movie is boring because the story proceeds so painfully slowly, the director presumably trying (though failing) to induce a slow crescendo of menace. It is frightening not because of the few brief glimpses of violent crime or its result, but because we know that all too many simple minded (or just plain stupid) people in the real world are capable of falling into the clutches of the sort of nasty, egotistical, sadistic bully, totally self-absorbed in his delusion of moral rectitude and continually playing the puritanical guilt card with his half-witted followrs, that is the Minister played so effectively here by Patrick Magee; and that there are all too many instances (though, thankfully, several orders of magnitude fewer than the numbers of the stupid and simple minded) of children growing up in the warped, hyper-pious but actually vicious atmosphere created in families and communities where such ministers of so-called religion and their equally nasty followers rule the roost, who grow up so mentally disturbed that they eventually do terrible things.
However, here the point is made so slowly that it takes much patience to sit through it; I imagine that it made no major moral impact on society when it appeared and that it has has been all but forgotten in the 36 years since. Given how much has come to light during those 36 years of the evils I refer to, one could perhaps claim that the film was in some small way prescient like Cassandra; however there were enough signs before, just not the instant media coverage thereof that there would be in the 21st century. All too many people follow religions with all too much blind zeal nowadays as before, and probably as always since the dawn of civilization. Unfortunately this movie will not be seen by enough people to influence that doom-laden trend. The sort of people about which this movie warns us are probably just the sort of people who believe that to watch movies at all is immoral!
However, here the point is made so slowly that it takes much patience to sit through it; I imagine that it made no major moral impact on society when it appeared and that it has has been all but forgotten in the 36 years since. Given how much has come to light during those 36 years of the evils I refer to, one could perhaps claim that the film was in some small way prescient like Cassandra; however there were enough signs before, just not the instant media coverage thereof that there would be in the 21st century. All too many people follow religions with all too much blind zeal nowadays as before, and probably as always since the dawn of civilization. Unfortunately this movie will not be seen by enough people to influence that doom-laden trend. The sort of people about which this movie warns us are probably just the sort of people who believe that to watch movies at all is immoral!
THE FIEND (Robert Hartford-Davis, 1972) ***
Bunuel197623 January 2010
This is one of the more notable British horror films from the early 1970s, a stylish and generally accomplished mix of religion, psycho-drama, music and exploitation. The opening cross-cutting between a prayer meeting – accentuated by a powerful gospel song – and a vicious murder is so stunning that the rest of the film actually struggles to live up to it, though the ending – appropriately over-the-top – is worth waiting for. Thematically, the film anticipates Pete Walker's equally good HOUSE OF MORTAL SIN aka THE CONFESSIONAL (1975) – but here we get the added bonus of a typically intense performance from Patrick Magee as the religious group's fanatical leader. Ann Todd (the former Mrs. David Lean) is one of his closest collaborators – in fact, her house is a converted church! – but who has to keep her diabetic condition a secret because the intake of insulin is prohibited by her faith! Her son (Tony Beckley), a security guard and part-time swimming instructor and pamphlet distributor, is repressed and unbalanced – and soon revealed to be the serial killer of nubile girls terrorizing the neighborhood (he even records on tape the victims in the throes of death a' la PEEPING TOM [1960]!). Todd's new nurse happens to have a reporter sister (genre regular Suzanna Leigh) who, alerted to the inhabitants' conspicuous Puritanism, concludes that all is not well with the house and decides to investigate. Given the permissive era in which this was made, violence and gratuitous nudity (along with the standard prerequisites associated with such fare) contend for the running-time – and the audience's attention – with a moderately serious treatment of the subject at hand. The end result may not be surprising or even particularly insightful but nonetheless proves wholly absorbing, thanks also to its undeniable surface polish.
Woman gains son, son finds religion, son loses mother.
mark.waltz30 October 2020
Warning: Spoilers
It's that old nutshell of the mother love plot mixed with religious extremism and a ton of symbolism with something to offend the few people who will probably see this film. we open with a church service and a very upbeat Christian song that sounds like it could make the pop charts, and then we see the son of the church's organist going out and killing women he considers unworthy of Christ's grace. Mom has a breakdown then confesses to the Reverend, Reverend punishes mom, and son pays for his sins.
Some interesting visual elements both artistic and disturbing, overload this film, yet surprisingly, it moves at a snail's pace and only the last 15 minutes seem to put everything together. Veteran actors Ann Todd and Patrick Magee are joined by Tony Beckley as the troubled son with Todd obviously in old age makeup so they can show her looking younger in flashbacks.
Magee can only fill a small space so his congregation is hardly a megachurch, so his being able to manipulate someone to go out and kill in the name of ending sin seems far-fetched. Beckley is not a very interesting psycho, so the results of this film are pretty forgettable. The musical numbers however do have a nice best to them, and the photography and editing of angles comes together nicely. Still, it's a one-dimensional view of the Christian religion that doesn't do any favors for those who have basic liberal beliefs. Easy to skip, and if you don't, easy to forget.
Some interesting visual elements both artistic and disturbing, overload this film, yet surprisingly, it moves at a snail's pace and only the last 15 minutes seem to put everything together. Veteran actors Ann Todd and Patrick Magee are joined by Tony Beckley as the troubled son with Todd obviously in old age makeup so they can show her looking younger in flashbacks.
Magee can only fill a small space so his congregation is hardly a megachurch, so his being able to manipulate someone to go out and kill in the name of ending sin seems far-fetched. Beckley is not a very interesting psycho, so the results of this film are pretty forgettable. The musical numbers however do have a nice best to them, and the photography and editing of angles comes together nicely. Still, it's a one-dimensional view of the Christian religion that doesn't do any favors for those who have basic liberal beliefs. Easy to skip, and if you don't, easy to forget.
"Your my only friend Mother, you know that." 2 quid for a play-about in the back of a truck?! I wish they charged that these days.
poolandrews25 April 2006
Warning: Spoilers
The Fiend starts at a meeting of a strict religious cult known as the 'Christian Children Evangelical Crusade' whose sermons are performed by a nut-case minister (Patrick Magee) who is as fanatical & crazy as they come. One of the congregation is missing, that of Kenny Wemys (Tony Beckley) who happens to be a serial killer, his strict religious Mother Birdy (Ann Todd) has taught Kenny that sex is evil so Kenny becomes a messed up avenging angel type character as he stalks the streets & alleyways of London in search of morally corrupt girls like prostitutes who he then brutally murders. Kenny also likes to tape record his handiwork & listen to the tapes back home which is used as a base for his Mother's religious sect. District nurse Brigitte Lynch (Madeleine Hinde) pays regular visits to the Wemys house & becomes both concerned & suspicious about Kenny & his Mother so ask's her reporter sister Patricia (Suzannah Leigh) to do some investigating with the possibility of a big story for her, Patricia soon discovers the shocking truth but will she live long enough to tell anyone...
This British production was produced & directed by Robert Hartford-Davis & is an OK watch I suppose but I didn't think it was brilliant or anything approaching it. First off I have to mention that a prostitute in The Fiend clearly says that she charges a mere £2 for a 'play-about' in the back of a truck, well all I can say is that you wouldn't get prices like that anymore, bleedin' hell that's as cheap as chips, that's inflation for you I guess. The script by Brian Comport takes itself very seriously & moves along at a fair pace, it has a pleasing amount of exploitation elements with it's fair share of dark alleyways, prostitutes, religious nut-jobs, murders & classic cockney dialogue but the story as a whole didn't quite grip or engage me enough, I never really cared about anything or anyone on screen & for the first hour or so The Fiend is all set-up with a few decent murders but then it's almost as if Comport knew he had to wrap things up quickly & introduced the female reporter to uncover the truth just so they had a convenient way to round the story off. The nut-case minister doesn't really feature until the end either when everything sort of comes together, oh & what happened to the CID inspector (David Lodge)? I mean the film starts off with him as the investigating officer dealing with the murders & then features him again in one more scene about half way through questioning a suspect after which he completely totally & utterly disappears from the rest of the film, as do the police as a whole. I suppose that The Fiend is trying to say something about religious fanatical-ism & the power it has over some people, unfortunately it means little as I think anyone watching The Fiend will be more interested in the murders, violence & nudity rather than any heavy handed moral message, I know I was. The Fiend is a decent exploitation film although I found it a bit dull & I couldn't really get into the somewhat erratic story or character's.
Director Hartford-Davis does a good job & The Fiend has a really sleazy atmosphere to it, from the dirty alleyways & backstreet's of London, prostitution, murder, nudity as every victim is naked at some point or other & just the whole look & feel of the film which has to be put down to the grimy, oily, dirty, nasty, depressing, grey London location shooting, I live in the UK & things haven't improved that much... There's a fair amount of nudity but the violence isn't as strong as you may think, there's not much blood in it that's for sure. Some punches, a strangulation, a few dead bodies with one hanging up on a meat hook & that's about it actually.
Technically The Fiend is solid British exploitation at it's best, it's well made & has a great sleazy feel to it. However, the gospel style songs that the congregation sing are cringe inducing. The acting isn't up to much, Magee lets his eyebrows & moustache do the acting, Beckley appeared in films such as The Italian Job (1969), Get Carter (1971) & Revenge of the Pink Panther (1978) while all the females in the cast are pretty cute.
The Fiend is a film that I thought was OK, it kept me watching until the end but it didn't really grab me & as a result I wasn't that interested in it or where it was going. The sleaziness of it is worth checking out since they just don't make 'em like this anymore. Worth a watch but nothing spectacular.
This British production was produced & directed by Robert Hartford-Davis & is an OK watch I suppose but I didn't think it was brilliant or anything approaching it. First off I have to mention that a prostitute in The Fiend clearly says that she charges a mere £2 for a 'play-about' in the back of a truck, well all I can say is that you wouldn't get prices like that anymore, bleedin' hell that's as cheap as chips, that's inflation for you I guess. The script by Brian Comport takes itself very seriously & moves along at a fair pace, it has a pleasing amount of exploitation elements with it's fair share of dark alleyways, prostitutes, religious nut-jobs, murders & classic cockney dialogue but the story as a whole didn't quite grip or engage me enough, I never really cared about anything or anyone on screen & for the first hour or so The Fiend is all set-up with a few decent murders but then it's almost as if Comport knew he had to wrap things up quickly & introduced the female reporter to uncover the truth just so they had a convenient way to round the story off. The nut-case minister doesn't really feature until the end either when everything sort of comes together, oh & what happened to the CID inspector (David Lodge)? I mean the film starts off with him as the investigating officer dealing with the murders & then features him again in one more scene about half way through questioning a suspect after which he completely totally & utterly disappears from the rest of the film, as do the police as a whole. I suppose that The Fiend is trying to say something about religious fanatical-ism & the power it has over some people, unfortunately it means little as I think anyone watching The Fiend will be more interested in the murders, violence & nudity rather than any heavy handed moral message, I know I was. The Fiend is a decent exploitation film although I found it a bit dull & I couldn't really get into the somewhat erratic story or character's.
Director Hartford-Davis does a good job & The Fiend has a really sleazy atmosphere to it, from the dirty alleyways & backstreet's of London, prostitution, murder, nudity as every victim is naked at some point or other & just the whole look & feel of the film which has to be put down to the grimy, oily, dirty, nasty, depressing, grey London location shooting, I live in the UK & things haven't improved that much... There's a fair amount of nudity but the violence isn't as strong as you may think, there's not much blood in it that's for sure. Some punches, a strangulation, a few dead bodies with one hanging up on a meat hook & that's about it actually.
Technically The Fiend is solid British exploitation at it's best, it's well made & has a great sleazy feel to it. However, the gospel style songs that the congregation sing are cringe inducing. The acting isn't up to much, Magee lets his eyebrows & moustache do the acting, Beckley appeared in films such as The Italian Job (1969), Get Carter (1971) & Revenge of the Pink Panther (1978) while all the females in the cast are pretty cute.
The Fiend is a film that I thought was OK, it kept me watching until the end but it didn't really grab me & as a result I wasn't that interested in it or where it was going. The sleaziness of it is worth checking out since they just don't make 'em like this anymore. Worth a watch but nothing spectacular.
A Clockwork Apple
frukuk28 February 2024
Diabolically awful.
I'm not sure if there was really any point to this film other than to have an excuse to have some actresses briefly appear topless. I have a feeling that at the time this was made it was necessary to add a gloss of seriousness to "excuse" the nudity. So, we have all this unconvincing mallarkey about a sect -- note NOT a cult -- in order to divert the censors' attention from the bare breasts.
I can't imagine there being any reason to watch this now, in the 21st century, other than to wonder at how constrained filmmakers were in the late 20th century. Or perhaps to see Suzanna Leigh playing the role of Paddy Lynch?
I'm not sure if there was really any point to this film other than to have an excuse to have some actresses briefly appear topless. I have a feeling that at the time this was made it was necessary to add a gloss of seriousness to "excuse" the nudity. So, we have all this unconvincing mallarkey about a sect -- note NOT a cult -- in order to divert the censors' attention from the bare breasts.
I can't imagine there being any reason to watch this now, in the 21st century, other than to wonder at how constrained filmmakers were in the late 20th century. Or perhaps to see Suzanna Leigh playing the role of Paddy Lynch?
Years Ahead Of It's Time
LeeVanNero13 March 2012
Having recently bought a copy of the 2010 release of this lost gem, finally available fully uncut and beautifully presented in anamorphic widescreen 1.78:1 - Odeon Entertainmant ODNF162 - I can't recommend it enough. Taking into consideration the very strict censorship laws and general climate the time of it's production, it's easy to see why it was butchered and suppressed at the time of it's initial release in 1972, the Mary Whitehouse brigade would have soiled themselves collectively at the subject matter alone. And the murder scenes, whilst fairly tame compared to some in todays more enlightened times, were way out there for early 70's Britain.
It's not the most polished of films, but the directing is pretty good and the acting pretty solid throughout - with a convincing enough ratio of ham, menace and believability - with the script and storyline excellent. Overall the results, particularly when taking the fairly small budget into consideration, really are very, very good indeed. Which is why I honestly think this film was years ahead of it's time.
An essential addition to any Brit Horror collection - it's a proto-slasher of sorts, imo - and also to anyone with an interest in looking at the darker and less positive sides of religion and it's very strong tendencies towards brainwashing, mind control and even abuse. I'd also recommend it to anyone who just loves a good well made and sincere film, however if you're just a cannibals & zombies or shoot 'em ups only freak, don't bother, it's definitely not for you.
It's not the most polished of films, but the directing is pretty good and the acting pretty solid throughout - with a convincing enough ratio of ham, menace and believability - with the script and storyline excellent. Overall the results, particularly when taking the fairly small budget into consideration, really are very, very good indeed. Which is why I honestly think this film was years ahead of it's time.
An essential addition to any Brit Horror collection - it's a proto-slasher of sorts, imo - and also to anyone with an interest in looking at the darker and less positive sides of religion and it's very strong tendencies towards brainwashing, mind control and even abuse. I'd also recommend it to anyone who just loves a good well made and sincere film, however if you're just a cannibals & zombies or shoot 'em ups only freak, don't bother, it's definitely not for you.
Religious nutcase.
BA_Harrison29 January 2024
Raised by an overbearing mother with diabetes (Ann Todd) and indoctrinated by a religious order called The Brethren, security guard Kenny Wemys (Tony Beckley) takes it upon himself to punish wayward young women by killing them. Meanwhile, nurse Brigitte Lynch (Madeleine Hinde) begins to suspect that something is very wrong in the Wemys house and convinces her sister, newspaper reporter Paddy (Suzanna Leigh), to write an expose on the Brethren.
Anyone who has seen director Robert Hartford-Davis' Corruption knows only too well that he is capable of making a genuine shocker, and Beware My Brethren has, in theory, got what it takes to be another excellent piece of exploitation horror. However, while the scenes featuring Tony Beckley doing 'God's work' tick all of boxes - nudity, violence and general sleaze - there is far too much of the runtime dedicated to the brethren and the sermons of the minister (Patrick Magee), which seriously cause the film to drag.
Had Hartford-Davis cut out at least one of the gospel songs and reduced the amount of preaching, and spent that time on police procedure, the murders, and Paddy's snooping, Beware My Brethren could have been another gem in his filmography. As it stands, it's a missed opportunity that is equal parts entertaining and tedious.
5.5/10, rounded up to 6 for IMDb.
Anyone who has seen director Robert Hartford-Davis' Corruption knows only too well that he is capable of making a genuine shocker, and Beware My Brethren has, in theory, got what it takes to be another excellent piece of exploitation horror. However, while the scenes featuring Tony Beckley doing 'God's work' tick all of boxes - nudity, violence and general sleaze - there is far too much of the runtime dedicated to the brethren and the sermons of the minister (Patrick Magee), which seriously cause the film to drag.
Had Hartford-Davis cut out at least one of the gospel songs and reduced the amount of preaching, and spent that time on police procedure, the murders, and Paddy's snooping, Beware My Brethren could have been another gem in his filmography. As it stands, it's a missed opportunity that is equal parts entertaining and tedious.
5.5/10, rounded up to 6 for IMDb.
Madhouse
neil-douglas20104 January 2023
A strange unsettling British horror movie from the early seventies starring Ann Todd and Patrick Magee. Todd plays Birdy Wemys who is part of the Brethryn, a religious congregation led by Magee's Minister, and what a bunch of fanatics they are. Unfortunately Birdy's son Kenny (Tony Beckley) is a sick killer of young ladies who he thinks have sinned.
This is quite a nasty film for it's time but luckily there's two heroines to save the day in Nurse Brigitte (Madeleine Hinde) and he sister journalist Paddy (Suzanna Leigh). With a gospel types soundtrack too this is definitely one of the weirder horrors of the early seventies.
This is quite a nasty film for it's time but luckily there's two heroines to save the day in Nurse Brigitte (Madeleine Hinde) and he sister journalist Paddy (Suzanna Leigh). With a gospel types soundtrack too this is definitely one of the weirder horrors of the early seventies.
Strange Baptisms
Pairic27 December 2022
Beware My Brethren (1971): An English fundamentalist church has a small but committed (they should be) congregation. They listen to tapes from their Leader in Arizona. Crazed scenes as they respond to Preacher Patrick Magee who puts in a worthy performance. Amazing how many low budget horror features he starred in along with Pinter and Beckett plays, exploitation movies paying the rent I guess. Anyway one of his flock, Tony Beckley is a few psalms short of a psalter and has become a serial killer. A demented portrayal , not just as he gruesomely dispatches his victims but also as he simultaneously listens to tapes of their pleadings along with his Leader's rants. Some really good editing as the action cuts between a full immersion baptism and the drowning of one of those murdered by Beckley. Production values suffer from a limited budget but it;s certainly worth watching. Directed by Robert Hartford-Davis, written by Brian Comport. On Legend Channel. 6.5/10.
A rare and disturbing feature
Leofwine_draca14 July 2016
Warning: Spoilers
This film is one of the best to trade on the hysteria and insanity of a religious cult that I've seen. From the cheesy opening which has scenes of a woman singing a hymn to the lord inter cut with a woman being stalked by a murderer, you know you're in for one hell of a ride. This is a low budget British production which concentrates on characters and their relationships which make it a stronger film than it might otherwise have been had a higher budget been available.
Patrick Magee hams for all he's worth as a psychotic preacher who will stop at nothing to recruit prospective followers and then control them with a grip of iron. You take drugs or medication? You'll be cast out. Magee gives an absolutely frenzied performance and is a hoot whenever he's on screen. A few other actors like LUST FOR A VAMPIRE's Suzanna Leigh pop up here and there but this is a film mainly populated by unknowns who acquit themselves well with the material - especially the actor playing the tormented Kenny, Tony Beckley.
The real horror comes from a series of violent murders being committed by an pervert. These pre-date and yet are remarkably similar to the later stalk-and-slash sequences in slasher epics which would swamp video shelves throughout the '80s. Each murder involves a woman who usually ends up minus most of her clothes, yes there's plenty of gratuitous nudity stirred into the brew. The killer is a man whose upbringing by the cult has left him mentally scarred and unable to have a normal relationship with a woman. So instead he goes out and slays anybody in the least bit sexual or attractive. THE FIEND is a totally demented film from start to finish and one that uncannily accesses human insanity and brings it to the screen in a believable way. Quite disturbing, quite rare, and well worth your time.
Patrick Magee hams for all he's worth as a psychotic preacher who will stop at nothing to recruit prospective followers and then control them with a grip of iron. You take drugs or medication? You'll be cast out. Magee gives an absolutely frenzied performance and is a hoot whenever he's on screen. A few other actors like LUST FOR A VAMPIRE's Suzanna Leigh pop up here and there but this is a film mainly populated by unknowns who acquit themselves well with the material - especially the actor playing the tormented Kenny, Tony Beckley.
The real horror comes from a series of violent murders being committed by an pervert. These pre-date and yet are remarkably similar to the later stalk-and-slash sequences in slasher epics which would swamp video shelves throughout the '80s. Each murder involves a woman who usually ends up minus most of her clothes, yes there's plenty of gratuitous nudity stirred into the brew. The killer is a man whose upbringing by the cult has left him mentally scarred and unable to have a normal relationship with a woman. So instead he goes out and slays anybody in the least bit sexual or attractive. THE FIEND is a totally demented film from start to finish and one that uncannily accesses human insanity and brings it to the screen in a believable way. Quite disturbing, quite rare, and well worth your time.
Give me that loony tunes religion
Woodyanders8 May 2019
Warning: Spoilers
Geeky and repressed mama's boy Kenny Wemys (a creepy and convincing performance by Tony Beckley) is the toxic product of a strict religious upbringing that compels him to go out and kill any women that he perceives as immoral. Kenny's heinous misdeeds can be traced to an austere evangelical Christian sect called the Brethren who are led by a fire'n'brimstone minister (a typically intense and vibrant portrayal by Patrick Magee).
Director Robert Hartford-Davis keeps the engrossing story moving along at a constant pace, maintains a grimly sober tone throughout, delivers a satisfying smattering of brutal violence and tasty female nudity, and stages the savage murder set pieces with appropriately nasty aplomb. Brian Comport's bold script makes a pertinent and provocative point on how severely enforced religious principles can cause someone to go dangerously off the deep end. This film further benefits from sound contributions by Ann Todd as Kenny's domineering and overprotective mother Birdy, Madeleine Hinde as fetching and snoopy nurse Brigitte Lynch, Suzanna Leigh as sassy reporter Paddy Lynch, and Percy Herbert as a sleazy police commissioner. Both the funky-throbbing score by Robert Kerr and Tony Osborne and a couple of groovy gospel rock songs that are belted out with rip-roaring gusto by Maxine Barrie hit the right-on swinging spot. A nice slice of edgy early 70's British horror.
Director Robert Hartford-Davis keeps the engrossing story moving along at a constant pace, maintains a grimly sober tone throughout, delivers a satisfying smattering of brutal violence and tasty female nudity, and stages the savage murder set pieces with appropriately nasty aplomb. Brian Comport's bold script makes a pertinent and provocative point on how severely enforced religious principles can cause someone to go dangerously off the deep end. This film further benefits from sound contributions by Ann Todd as Kenny's domineering and overprotective mother Birdy, Madeleine Hinde as fetching and snoopy nurse Brigitte Lynch, Suzanna Leigh as sassy reporter Paddy Lynch, and Percy Herbert as a sleazy police commissioner. Both the funky-throbbing score by Robert Kerr and Tony Osborne and a couple of groovy gospel rock songs that are belted out with rip-roaring gusto by Maxine Barrie hit the right-on swinging spot. A nice slice of edgy early 70's British horror.
Great 70's sleaze!
TomFarrell6317 March 2024
I thoroughly enjoyed this. A great sleazy atmosphere pervades throughout, not surprised the censors got their hands on it back in the day, and the UK only saw an edited version. Thankfully the version on the blu ray is the international version, and there is a handy extra feature comparing the UK version th the international.
Acting is excellent throughout, Ann Todd, Patrick Magee and Tony Beckley all do sterling jobs with their major roles, and the supporting cast are no slouches either.
It's a hard film to categorise, not horror really, not a crime drama, I'd call it a thriller more than anything.
Approach it with an open mind, and you'll be rewarded with a bit of a gem.,and a very early appearance fro Maxine Barrie of Stars in Their Eyes fame!
Hats off to 88 films for making this look as good as it does.
Acting is excellent throughout, Ann Todd, Patrick Magee and Tony Beckley all do sterling jobs with their major roles, and the supporting cast are no slouches either.
It's a hard film to categorise, not horror really, not a crime drama, I'd call it a thriller more than anything.
Approach it with an open mind, and you'll be rewarded with a bit of a gem.,and a very early appearance fro Maxine Barrie of Stars in Their Eyes fame!
Hats off to 88 films for making this look as good as it does.
Unusual and thrilling
christopher-underwood6 August 2022
What a splendid film that could be even better than Robert Hartford-Davis's, Corruption (1968) that starred Peter Cushing. This time maybe too much of the religious sect but we have in the leading part the great Patrick Magee and he is so good that it is all really fine. There are moments that maybe are a little amateurish but then the killings are incredible that like with the later film it is also so nasty. Clearly the UK cuts were considerable and almost like another film, known as The Fiend. The horrible church and their hint of child corruption with Magee are very good also Ann Todd just as worrying and their little sect. Unusual and thrilling.
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