I'd recalled seeing this on television back in 1992 and being disappointed with it at the time. Giving it another go after all these years, I did enjoy it rather more, with expectations suitably managed. I think its main problem is that fans of the horror movie genre, particularly British ones of the early 1970s, will often be left feeling rather underwhelmed given that much of the narrative revolves around the relationship of two elderly sisters.
Things start promisingly enough, with a soldier being attacked and savaged in a wood by someone or something - but after that, it's nearly all talk with only fleeting action when a few more killings occur by some force unseen.
The plot revolves around an outbreak of horrific murders of soldiers at a rural army camp. Nearby, two elderly, unmarried sisters still occupy their childhood home. As we follow the dominant Joyce and the younger, innocent Ellie, it gradually becomes clear that whatever is doing the killing is known to them, for it is something they've had locked up in their cellar and from which it has escaped.
On this new viewing I did find myself appreciating the dialogue and depth of character afforded the two sisters, superbly performed by Flora Robson and Beryl Reid who undoubtedly save this film from being unwatchable. However, as sensitively as their two characters are crafted, the remaining characters in the piece are very one-dimensional, and few in number also, betraying what was probably a very low budget. The suspense is minimal, the killings surprisingly lacking much impact, partly because none of those killed have anything of note to say or do before they are dispatched.
***SPOILERS*** The backstory, when we learn it, is actually interesting, and involves the sisters' loving father coming back from the 1914-18 war a changed man, given to violence. The surprise addition of a male child, Stephen, to the family serves to fuel his anger and the child is sent away to boarding school. Years later he returns, and with Europe on the brink of war again he is determined to follow in his now-deceased father's footsteps and become an officer. Equally determined not to see his life similarly destroyed by service in the army, Joyce persuades Ellie to help her in a plan to incarcerate Stephen, and brick him up in the cellar where he can neither be discovered nor be free to choose his destiny. What was intended as a relatively short term solution ultimately resulted in Stephen's imprisonment lasting for decades.
Whilst the story goes a long way to explaining Stephen's homicidal behaviour, it comes up rather short in justifying how a man weakened by such a dismal existence could so easily overpower and kill a number of fit, healthy, well-trained (and armed!) soldiers. It's also disappointing that the backstory is delivered via a lengthy speech from Ellie rather than via some more imaginative mechanism.
That said, it does hint at more than we are directly told, and more than the naïve Ellie has deduced for herself. The father's complete dislike of Stephen does strongly suggest that the boy was not his own child. Furthermore, given Joyce's rather obsessional need to protect Stephen, there is even a hint that she might be his true mother. Why, also, is she in the habit of secretly donning her father's army clothes when Ellie is out of the house?
It also has to be considered that madness was something that runs in the Ballantyne family line and was only exacerbated by the father's war experiences rather than being the original cause of it, given the actions of Joyce and Stephen.
Overall, the construction of this film, with its extended scenes of dialogue, small cast and limited variance in locations, would almost make one believe it was an adaption of a theatrical play. I'm sure it will continue to disappoint many, but there is certainly sufficient substance to commend it if one approaches it with the right mindset.
Things start promisingly enough, with a soldier being attacked and savaged in a wood by someone or something - but after that, it's nearly all talk with only fleeting action when a few more killings occur by some force unseen.
The plot revolves around an outbreak of horrific murders of soldiers at a rural army camp. Nearby, two elderly, unmarried sisters still occupy their childhood home. As we follow the dominant Joyce and the younger, innocent Ellie, it gradually becomes clear that whatever is doing the killing is known to them, for it is something they've had locked up in their cellar and from which it has escaped.
On this new viewing I did find myself appreciating the dialogue and depth of character afforded the two sisters, superbly performed by Flora Robson and Beryl Reid who undoubtedly save this film from being unwatchable. However, as sensitively as their two characters are crafted, the remaining characters in the piece are very one-dimensional, and few in number also, betraying what was probably a very low budget. The suspense is minimal, the killings surprisingly lacking much impact, partly because none of those killed have anything of note to say or do before they are dispatched.
***SPOILERS*** The backstory, when we learn it, is actually interesting, and involves the sisters' loving father coming back from the 1914-18 war a changed man, given to violence. The surprise addition of a male child, Stephen, to the family serves to fuel his anger and the child is sent away to boarding school. Years later he returns, and with Europe on the brink of war again he is determined to follow in his now-deceased father's footsteps and become an officer. Equally determined not to see his life similarly destroyed by service in the army, Joyce persuades Ellie to help her in a plan to incarcerate Stephen, and brick him up in the cellar where he can neither be discovered nor be free to choose his destiny. What was intended as a relatively short term solution ultimately resulted in Stephen's imprisonment lasting for decades.
Whilst the story goes a long way to explaining Stephen's homicidal behaviour, it comes up rather short in justifying how a man weakened by such a dismal existence could so easily overpower and kill a number of fit, healthy, well-trained (and armed!) soldiers. It's also disappointing that the backstory is delivered via a lengthy speech from Ellie rather than via some more imaginative mechanism.
That said, it does hint at more than we are directly told, and more than the naïve Ellie has deduced for herself. The father's complete dislike of Stephen does strongly suggest that the boy was not his own child. Furthermore, given Joyce's rather obsessional need to protect Stephen, there is even a hint that she might be his true mother. Why, also, is she in the habit of secretly donning her father's army clothes when Ellie is out of the house?
It also has to be considered that madness was something that runs in the Ballantyne family line and was only exacerbated by the father's war experiences rather than being the original cause of it, given the actions of Joyce and Stephen.
Overall, the construction of this film, with its extended scenes of dialogue, small cast and limited variance in locations, would almost make one believe it was an adaption of a theatrical play. I'm sure it will continue to disappoint many, but there is certainly sufficient substance to commend it if one approaches it with the right mindset.