In the very same year that her "Rebecca" co-star Judith Anderson got to pay homage to her participation in the film noir classic "Laura" by shooting a "Santa Barbara" character in the butt with an old rifle loaded with buckshot, the still beautiful Joan Fontaine paid homage to the film version of the Daphne DuMaurier classic with this TV movie, originally shot as a pilot for a possible nighttime soap opera produced by Aaron Spelling ("Dynasty"). When that didn't sell, the film was slightly edited to be more complete for a movie of the week. The result is mixed, and while there was some potential, I am glad it did not end up being a series. Combining the soapy structure of a family at odds and the arrival of a mystery woman (Linda Purl) whose appearance stirs everything up because of her resemblance to a dead in-law, this has elements of "Dark Shadows" as well as several other gothic novels including "Jane Eyre" which Fontaine had also appeared in.
This film is oddly plotted, with Fontaine quickly widowed shortly after Purl's arrival when her husband is suddenly struck by lightning and her two sons (Michael York, natural born son, and Paul Shenar, adopted son) go toe to toe over the will which leaves Fontaine in charge. Much of the film surrounds each of the family's remembrances of how York's wife died and their guilt over it. Shenar plays an angry character, drunkenly raping his scheming wife (Lois Chiles) who declares, "I can't stop you but I'm not helping you", as he prepares to have his way with her against her will. It's a disgusting moment that gives Shenar no sympathy, and it made me wish that it was his character who had been struck by lightning. There's a fight between cousins Grant Aleksander and Yves André Martin over Aleksander's pretty sister Nicollette Sheridan whom Aleksander thought that Martin was making a play for, as well as the observations of blind sister Melissa Sue Anderson who may not see physically, but has the gift of clairvoyance. Much of these plot developments really go nowhere, and when the film wraps up, much of the story is left unresolved.
The combination of ghost story (making the assumption that the dead in-law still roams the walls of Drakes Point) and family secrets are awkwardly developed and often over the top and unbelievable. That being said, the only reason to tune into this if you can locate it is to see Fontaine in one of her rare on-screen appearances long past her prime, only working when she wanted to and yet every inch still a star. She is commanding yet gentle, fierce when she has to be in dealing with the family, and with few other exceptions, the only element of class in this dysfunctional clan. Aleksander, a heartthrob from "Guiding Light", mixes the brutality of his embittered grandson with the brooding tenderness that made his character of Philip Spaulding so memorable, but there's no real opportunity to explore his full dynamic nor the dynamics of his hatred for his adopted cousin, his over protectiveness of his sister (a greatly underused Sheridan) and his connection with Anderson. I felt an extreme letdown at the end which utilized written narration to explain what would happen down the road, a true eye roller.
This film is oddly plotted, with Fontaine quickly widowed shortly after Purl's arrival when her husband is suddenly struck by lightning and her two sons (Michael York, natural born son, and Paul Shenar, adopted son) go toe to toe over the will which leaves Fontaine in charge. Much of the film surrounds each of the family's remembrances of how York's wife died and their guilt over it. Shenar plays an angry character, drunkenly raping his scheming wife (Lois Chiles) who declares, "I can't stop you but I'm not helping you", as he prepares to have his way with her against her will. It's a disgusting moment that gives Shenar no sympathy, and it made me wish that it was his character who had been struck by lightning. There's a fight between cousins Grant Aleksander and Yves André Martin over Aleksander's pretty sister Nicollette Sheridan whom Aleksander thought that Martin was making a play for, as well as the observations of blind sister Melissa Sue Anderson who may not see physically, but has the gift of clairvoyance. Much of these plot developments really go nowhere, and when the film wraps up, much of the story is left unresolved.
The combination of ghost story (making the assumption that the dead in-law still roams the walls of Drakes Point) and family secrets are awkwardly developed and often over the top and unbelievable. That being said, the only reason to tune into this if you can locate it is to see Fontaine in one of her rare on-screen appearances long past her prime, only working when she wanted to and yet every inch still a star. She is commanding yet gentle, fierce when she has to be in dealing with the family, and with few other exceptions, the only element of class in this dysfunctional clan. Aleksander, a heartthrob from "Guiding Light", mixes the brutality of his embittered grandson with the brooding tenderness that made his character of Philip Spaulding so memorable, but there's no real opportunity to explore his full dynamic nor the dynamics of his hatred for his adopted cousin, his over protectiveness of his sister (a greatly underused Sheridan) and his connection with Anderson. I felt an extreme letdown at the end which utilized written narration to explain what would happen down the road, a true eye roller.