Marlon Brando's THE GODFATHER comeback was more of a legacy accreditation for his entire resume, blending with the years-past STREETCAR NAMED DESIRE and ON THE WATERFRONT types as if all the bad films in-between didn't exist... and perhaps this might be one that he could have avoided...
Strangely enough, the title NIGHTCOMERS would have befitted the adaptation of Henry James's enigmatic supernatural short story TURN OF THE SCREW ala 1961's THE INNOCENTS as two ghosts (our lovers here, when alive) come at night, appearing before the same children with their caretaker: the latter arriving at the tail-end and, like ROGUE ONE years later, connecting to its famous source... but was the James story (or its adaptation) relevant for an entire prequel/backstory?
In the director's chair is the (at that time) creatively offbeat Michael Winner, using his usual zoom shots and symbolic set-ups, who may have been envious of former collaborator Oliver Reed's art-films by time-period sex-exploitation director Ken Russell, who'd have fit better since NIGHTCOMERS more comfortably plays with sadistic lust than the kind of psychedelic horror popular during the early seventies, heavy on off-putting violence and short on plot: Which has Henry James's two spoiled, death-obsessed (and not very inspired) literary children residing in a rural gothic English manor of Bly...
Their parents are dead and an aloof uncle turns them over to Stephanie Beacham, a religious caretaker, deliberately contrasting to Brando's Quint as an Atheist groundskeeper... donning the same unkempt hair and Irish accent he'd use in THE MISSOURI BREAKS, another film in which he seems part of a totally different picture...
And here his frolicking, childish behavior is both infectious to the adoring kids as well as the movie's entire cadence: But had there been more sympathy and perspective on Beacham's naiveté, Brando's reckless rebellion would have provided more shock value instead of seeming so natural and commonplace: Basically, watching THE NIGHTCOMERS is like electricity being electrocuted.
The best thing is Jerry Fielding's brooding, haunting music, similar to his STRAW DOGS score. And yet, like the Brando thriller NIGHT OF THE FOLLOWING DAY, another maligned pre-GODFATHER outing, there is a comfortable surrealism that feels as if this particular NIGHT was also intended for a very selective cult-movie audience all along.
Strangely enough, the title NIGHTCOMERS would have befitted the adaptation of Henry James's enigmatic supernatural short story TURN OF THE SCREW ala 1961's THE INNOCENTS as two ghosts (our lovers here, when alive) come at night, appearing before the same children with their caretaker: the latter arriving at the tail-end and, like ROGUE ONE years later, connecting to its famous source... but was the James story (or its adaptation) relevant for an entire prequel/backstory?
In the director's chair is the (at that time) creatively offbeat Michael Winner, using his usual zoom shots and symbolic set-ups, who may have been envious of former collaborator Oliver Reed's art-films by time-period sex-exploitation director Ken Russell, who'd have fit better since NIGHTCOMERS more comfortably plays with sadistic lust than the kind of psychedelic horror popular during the early seventies, heavy on off-putting violence and short on plot: Which has Henry James's two spoiled, death-obsessed (and not very inspired) literary children residing in a rural gothic English manor of Bly...
Their parents are dead and an aloof uncle turns them over to Stephanie Beacham, a religious caretaker, deliberately contrasting to Brando's Quint as an Atheist groundskeeper... donning the same unkempt hair and Irish accent he'd use in THE MISSOURI BREAKS, another film in which he seems part of a totally different picture...
And here his frolicking, childish behavior is both infectious to the adoring kids as well as the movie's entire cadence: But had there been more sympathy and perspective on Beacham's naiveté, Brando's reckless rebellion would have provided more shock value instead of seeming so natural and commonplace: Basically, watching THE NIGHTCOMERS is like electricity being electrocuted.
The best thing is Jerry Fielding's brooding, haunting music, similar to his STRAW DOGS score. And yet, like the Brando thriller NIGHT OF THE FOLLOWING DAY, another maligned pre-GODFATHER outing, there is a comfortable surrealism that feels as if this particular NIGHT was also intended for a very selective cult-movie audience all along.