Night Must Fall (1964) User Reviews

The great Albert Finney and his mysterious hat-box!

[Coventry · 7/10 · 15 June 2005]

To start with a little off-topic note: in 2003, Tim Burton made the film "Big Fish" which stars Ewan McGregor as a younger version of Albert Finney. When you actually see "Night Must Fall", which was shot around the time when Finney was in his late 30's, it becomes obvious how good this casting choice was! From multiple camera angles, McGregor really looks a lot like the young Finney and the facial expressions are almost exact. "Night Must Fall" itself is a truly interesting and involving thriller and I wonder why on earth it's so underrated! This is a remake of a 1930's thriller that stars Finney as a dangerous, yet very charismatic psychopath who systematically works his way up in a high-society family as a pageboy. After a while, the elderly lady and her daughter grow really fond of him but his mind and intentions are still disturbed. The film has a terrific opening sequence (the frightening image of Danny getting rid of his murder victim) and an extremely suspenseful finale! Everything in between is a bit too talky and – at times – somewhat dull, but you keep watching since Finney's performance is so outstanding. Especially the scenes in which he relives his vile crimes up in his room (forcefully holding the hat-box that contains grim trophies) are very tense and unsettling. Reisz' directing is well-handled but it merely is Freddie Francis' imaginative photography that makes this film so dreamy and beautiful. Francis unquestionably was Britain's best cinematographer of that time and he also directed a couple of entertaining horror films ("Trog", "The Creeping Flesh", "Tales that Witness Madness…")

Very well acted and generally underrated.

[MOscarbradley · 7/10 · 15 May 2018]

A critical failure at the time of its release and considered something of a let-down for its director and star, (it was certainly an odd choice of material), this 1964 film version of Emlyn Williams' play, (it was written in 1935 and filmed two years later with Robert Montgomery), is nowhere near as bad as people say. It's the one about the young psychopath, (a terrific Albert Finney), who worms his way into the affections of elderly invalid Mona Washbourne, (superb), and her initially stand-offish daughter, (an excellent Susan Hampshire). The problem is that in attempting to get to the psychological heart of the piece director Karl Reisz drains it of all suspense and Clive Exton's screenplay, (I haven't seen or read the original play), is a bit on the dull side. But neither is it a disaster and I have never understood why it disappeared so soon after its initial appearance.

Unbiased view

[alfred-norgrove · 7/10 · 27 February 2006]

I'm very glad I watched this extremely well made British '60s film before reading other critical judgements; otherwise I might not have bothered with it. I've seen a lot of British thrillers and films noirs from this period, and some of them are really terrible; not terrifying, dreadful. By comparison this one is a gem.

Finney dominates the scene with his accustomed bravura. I agree he overdoes it, if he'd turned it down a couple of notches, he'd have been perfect. An interesting idea that Arthur Seton in "Saturday Night.." was being **outrageous**. I'm sure Finney imagined he was doing realism! Mona Washbourne is also very good. Not many parts like this are currently being written for elderly or middle-aged female actors in British or U.S films, but back then they were pretty common. Lastly, a word of praise for Susan Hampshire in her pre-Forsyte Saga days. She never looked better; a nuanced, sympathetic performance of that breed of emotionally challenged posh girls, who were often treated as off-putting caricatures in British cinema. Not here thankfully. The entire cast is excellent. This film was a huge treat all round.

A great, tense thriller! (No Spoilers)

[redwulf2002 · 19 October 2004]

I've heard about this British gem, and I was stoked to see that it was on TCM (UK) the other night. Albert Finney is superb as Danny, well the entire cast is very strong. I'd heard about it from the Freddie Francis link (he was Director of Photography)and I wasn't disappointed, it just has his unique stamp all over it.

For most of the film, the audience is waiting for something to happen as the tension is kept to a maximum throughout the film. The final payoff is superb and shows just why Finney is one of Britains best actors. I thought it was a lot like that other British twisted family oddity 'Girly' (US title) but with fewer sexual undertones.

It's a shame Night Must Fall isn't more well known as it's a true gem of 60's British cinema.

Just watched it on TCM

[nixolympica · 6/10 · 2 October 2006]

Just watched this film on TCM. Quite enjoyable and not as bad as I'd heard from reviews I'd read over the years. My only problem was that I was expecting to understand more about Finney's character by the end of the film (ie: what lead to his psychotic behaviour, what had gone wrong in his childhood...that kind of thing), but never got any deep insight at all. Which for me made him rather a 1 dimensional screen psycho - and therefore the film was not as interesting as it should have been. And the end of the movie was a ..."so what?" affair.

Did I miss something?

Or was I expecting a movie with more depth than it actually had?

Why it works and why it doesn't

[benoit-3 · 7/10 · 4 April 2009]

Is it a good idea to remake masterpieces? Usually not. The only reason Karel Reisz and Albert Finney decided to build on their great success of "Saturday Night and Sunday Morning" and Finney's international triumph in "Tom Jones" to attempt just that by remaking this Richard Thorpe/Emlyn Williams 1937 classic, besides the fact that it was a great part for a flamboyant young actor like Finney, is that they figured that in those pre-video days, no one would remember the original film. Today's audiences however can compare the two films and I'd be surprised if more than a fraction of them would prefer the Reisz version over the Thorpe one. Why did it fail? Narcissism. Finney, who is a good actor, was popular enough to create his own company and tailor the film around his screen personality but not experienced enough to know that you can't get through that intricate play on just mugging, cute faces, a hand-held camera and modern editing techniques. Besides overlong cutesy-pootsy scenes like Finney racing his scooter with Susan Hampshire's Austin Mini, the spectator has to contend with seeing his naked body, open shirts and suggested musculature at every possible occasion the script permits. In order to make even more room for Finney's character and personality, Olivia's part has been rendered practically silent. She of the Greta Garbo good looks spends the film pouting mysteriously and letting us guess whether she has a soul or not and whether she is infatuated with Finney's character or not and whether she suspects him or not. The producers (Finney and Reisz) were apparently so worried that the film might be too talky that they removed every piece of inspired dialog (usually Olivia's) from the original and made the 101 minutes of running time feel infinitely longer than the original's 116 minutes in the process. The obligatory modernization of the play also necessitated a good dollop of sex where the original happily did without it so that Dora's character is made ridiculous and given a conspicuously vulgar turn by Sheila Hancock. Despite those flaws, the film is not a total failure and its marriage of image and music does deliver suspense and shocks commensurate to the post-"Psycho" era. Luckily, I don't think it will ever eclipse the originality and audacity of the first film or its importance in the history of film-making.

Chilling

[Ed-Shullivan · 7/10 · 22 August 2019]

Even after 55 years Albert Finney's performance as the Dr. Jekyll and Mr. Hyde womanizer who can turn into a deranged psychotic killer at the slightest of conversations is not to be missed. I think this film is an under rated classic and in the same realm as Psycho.

A must see if you enjoy thrillers.

A deliberately paced and very grim thriller

[JasparLamarCrabb · 6/10 · 5 January 2015]

Albert Finney's stunning performance is the reason to see Karel Reisz's tightly wound version of the Emlyn Williams play. Finney plays a diabolic young man who insinuates himself into the household of wealthy widow Mona Washbourne. He's soon her favorite and he soon has her wrapped around his demented finger. Things are further complicated by the fact that Washbourne's nubile daughter Susan Hampshire is smitten with the loony Finney. Deliberately paced but never boring, this film sets a grim tone from the get go and keeps it up throughout. Reisz and Finney produced and there's a creepy music score by Ron Grainer. The great Freddie Francis did the cinematography (his last for sixteen years, during which time he spent directing various horror films). Sheila Hancock plays Finney's pregnant girlfriend.

Don't See This Film At Night!!!!

[legwarmers1980 · 10/10 · 31 July 2005]

This black and white 1960s classic of a serial killer is one of the most frightening movies ever made. There are no monsters, masked killers, or nightmare ghouls. What is so utterly terrifying is that the sadistic murder is seemingly the "nicest" guy around. A good-looking, charming and friendly fellow; some 20 years before the horror of Ted Bundy!.

Albert Finney gives his most impressive and outstanding performance. He is chilling, lovable, funny, and scary. The opening scene in which Finney is walking in a swamp with a head-less, arm-less, leg-less torso is one of the most shocking and disturbing scenes in film history.

Night Must Fall is a really great piece of film-making, but don't see it before night falls! You won't be able to sleep!!!!!!

watch Albert Finney do his turn as Danny

[killercharm · 7/10 · 3 May 2020]

I love the original. Love it. But then you watch Albert Finney do his turn as Danny. You watch him go from jovial to cocky to childish to deadly and it's engrossing fun. I love Robert Montgomery's Danny; it seems that Albert Finney glibs his way through. Either movie stands on its own; both are necessary if one wants to complete their serial killer log. Mr. Karel Reisz does things with the camera and editing that are exquisite. That scene where it seems the camera is sitting on Mona Washbourne's wheelchair facing her is all that. Albert Finney had just made Tom Jones, a better movie was never seen. He had shot into orbit and, much like in Tom Jones he is front and center in this flick where we open with a murder. After he drops the body into the water we see him at his place of work, where he picked out his victim. Next he goes to his girlfriend's place of work, which is...across the street from the pond with "his" body in it. He just stakes out his territory everywhere he goes. Now he's in a household of three women, carrying a, what, in a hat-box.

Loud, disappointing remake of a psychological drama

[blanche-2 · 5/10 · 1 October 2006]

Handsome, boyish Albert Finney is a schizophrenic axe murderer in "Night Must Fall," based on the Emlyn Williams play, and a remake of the 1937 film starring Robert Montgomery and Rosalind Russell. There have been some rewrites. This film is less a psychological drama than an actual thriller this time around, with accompanying loud, distracting music. There is no repressed niece; there is instead, in the body of Susan Hampshire, a good-looking and fascinated daughter. And instead of being a harridan, the role of the aunt (now mother) is portrayed by Mona Washbourne as annoying. Also, the film has been opened up to encompass the outdoors more than the original, which centered around a secluded cottage.

Strangely, showing more of the surrounding area rather than keeping the film in the dark, claustrophobic cottage was less atmospheric somehow. I didn't have the feeling of foreboding that I had with the original, waiting - excuse the pun - for the axe to fall. There was none of the loneliness or tension either.

Albert Finney was at the top of his form, and had the actual story been closer to the original, he would have done an excellent job with that, too. He is a flirtatious dandy one minute, a playful little boy who doesn't know when to stop in the next, and a dangerous, vengeful child later on. Robert Montgomery's portrayal was smoother and less obvious fitting in with that earlier script. Susan Hampshire is very pretty and always good as a young actress on leave from London for reasons not explained, and Mona Washbourne is a typical semi-invalid old lady who in a strange way competes with her daughter for Finney's affections.

"Night Without Fall" seems to have been made on a low budget. There are choppy edits, and it almost appears as if some scenes are missing. If you forget the original and take this as a thriller, you will enjoy it more.

Outstanding performance by Albert Finney

[heyomike-1 · 8/10 · 18 November 2007]

I loved this film, but it's not for everybody. There are many experimental aspects (music, camera angles, the performances) that reflect the time period in which it was filmed. Think Who's Afraid of Virginia Woolfe, Dr. Strangelove, Psycho, etc, and you'll be more prepared. It came the year after Tom Jones and was co-produced by Finney, and as a result, was not the kind of film Finney fans were expecting. I suspect that is why the film is not more well known.

A couple of IMDb viewers were rather harsh concerning Finney's performance, but I have to disagree. I was completely mesmerized and I highly recommend it.

Probably not a good movie to watch on a dark stormy night by yourself. At the same time, don't expect a typical horror film--I was thrown off by the very beginning and halfway through, I was questioning what I had seen--I think this was deliberate, and has a lot to do with Danny's character. I think this is a cautionary tale more than anything else. You'll understand what I mean if you've seen it.

Had to leave

[barflew · 7/10 · 21 February 2010]

I saw this movie in 1964 when I was 26 and had to walk out.

I had an extremely strong aversion to seeing images of body parts (maybe because of the gruesomely graphic accident photos printed in the Daily News in the 50's?). There were several visual references to body parts in the movie which were shockingly effective. Two that I recall; I believe it was Finney slouched down in his seat in a movie house with only his head visible - seemingly detached and free-floating and a scene in which someone opened a trunk suddenly revealing a hand and a head - the hand was just a model and the "head" was a mirror reflecting the face of the person who opened the trunk.

Here it is, over 45 years later and I still don't know how the movie ends or what, if anything is in that hat box and if it is a head, whether or not it's ever visually revealed. On the other hand, my date was bored and happy to leave.

So much good...tossed away due to some uneven writing and acting.

[planktonrules · 3/10 · 3 August 2019]

"Night Must Fall" is an incredibly frustrating film. At times, it's engaging and exciting. But, at other times, it's almost embarrassingly bad...and the ending, uggh, the ending is pretty limp.

In the opening scene, you see Danny (Albert Finney) dismembering someone and tossing a hatchet into the lake. The scene is handled well...not overly gruesome.

The scene then changes to a nearby mannor home. A lonely wheelchair-bound woman is visited by Danny...and soon he ingratiates himself to her. Soon, he's a member of the household staff as well as her confidante. He also, later in the film, seems more like her pet than a person...and that's when the film falls apart.

The movie is so uneven. At times, FInney is great--such as when he's charming and antisocial--grooming the lady and her entire household. But, at times, it's darn embarrassing to watch him, as he overacts and plays a psychotic with all the subtlety as a three year-old in a school pageant! Up until the end, still, I might have given this one a six. But the big confrontation scene at the end...wow is it illogical and terrible. See the film...see what I mean.

A psychological thriller well acted by a young Albert Finney.

[shhazam2 · 15 August 2000]

This remake of a 1937 Robert Montgomery movie is just as eerie as the original. Albert Finney does a great job conveying a momma's boy character who turns even more pathological as the film progresses. As true for many better British films, the supporting characters are well cast and perfectly matched to their respective parts.

Careful with that axe, Albert.

[BA_Harrison · 7/10 · 24 September 2023]

You can tell that Danny (Albery Finney) ain't quite right by the erratic way he rides his scooter. And the fact that we see him chopping up and disposing of a body in the opening scene.

Having charmed his way into the knickers of maid Dora Parkoe (Sheila Hancock), knocking her up, Danny worms his way into the household of Dora's employer, elderly Mrs. Bramson (Mona Washbourne). At first, the old lady's daughter Olivia (Susan Hampshire) dislikes Danny, but the young man's rizz eventually wins her over. But what does Danny keep in the hat box in his room?

Predating real-life serial killer Ted Bundy's activities by a decade, Night Must Fall is a fascinating study of a psychopath who, on the surface, is a charismatic individual, but who is, in reality, a deeply disturbed whack job. While Danny works his magic on Mrs. Bramsom and Olivia, the police are dragging the nearby lake for a missing woman, eventually finding her body, minus the head. And although we never see the missing noggin, it's made pretty obvious where it is (with scenes reminiscent of the infamous box incident recounted by Jeffery Dahmer's father).

Despite adopting a rather annoying 'boyo' Welsh accent for the role, Finney is excellent as the manipulative psychopath, lending his character a much-needed sense of realness (as one might expect from an actor who found fame in the kitchen-sink drama genre). We get glimpses into Danny's past, giving us an insight into what has made him so flaky, both his mother and father dying when he was very young; this also goes some way to explaining the rather perverse mother/son relationship he develops with Mrs. Bransom, which leads to the film's shocking climax.

Well acted, grim, and surprisingly brutal at times, Night Must Fall is a compelling study of a dangerous individual, and, although I didn't quite buy into the ending, in which Danny realises that the game is up and is reduced to a gibbering wreck, I still recommend the film to fans of gritty psycho-thrillers.

Immensely underrated

[katerinand · 8/10 · 18 March 2004]

The remake of the 1937 film was slaughtered both by critics and audience at the time it premiered and there was mainly one reason for it:the crazed fans of Albert Finney were absolutely shocked,as he daringly chose the role of the psychotic ''killer with the angelic face'', following his all-time favorite roles of ''Saturday night and Sunday morning''and, particularly, ''Tom Jones''.As many historians mention, the ''MGM wives'' who were few of the first to see the film, turned violently against the gifted director, Karel Reisz, shouting ''what have you done to that beautiful boy?''!But this is not a serious reason to dismiss an, overall, very good film, which, however, has some serious flaws.The use of music is exaggerated and some times irritating and, only in the first part of the film, Finney doesn't quite know how to tackle with his disturbed character. But the photography is great, Mona Washbourne gives a superb performance and Karel Reisz does a great job, not only updating the old text and bringing it within the ''realism'' of the British Free Cinema movement, but also with his masterful camera movements and his use of editing and abruptly cutting to different scenes, he creates an imposing psychological thriller, where what you don't see is more disturbing than what you do. Being one of the greatest actors EVER, Finney soon finds a convincing attitude for his character and the last part of the film is absolutely brilliant as a whole.It should be re-examined and re-appreciated, that's why it has to come out on VHS and DVD a.s.a.p.! 7.5/10

See the original first!

[jwritert · 5/10 · 4 October 2006]

If you've seen the 1937 version of this film, it's hard not to compare the two. The first version is subtle and Danny's menace is hinted at rather than openly shown. Instead of quiet, threatening glances, we have an ax thrown through into the air and Finney hacking away at a dead body. I also don't understand why the 1964 version had to change the character of Olivia. In the original she was a repressed spinster, a nerd who was brunette and wore glasses, which made her attraction to a murderer all the more fascinating. Instead, the 1964 version recast Olivia as a sexy blonde who used to be an actress! The sexual tension between the two is totally gone (Olivia and Dan have sex immediately) and the great, quietly erotic scenes between Rosalind Russell and Robert Montgomery in the original (similiar to the scenes between Hannibal Lecter and Clarice Starling) are missing. Instead we have a routine conflict - blonde wavers between her attraction and fear of an obvious psycho - and the film has nowhere to go. The only suspense left comes from watching Finney as "the psycho" and wondering when he'll explode.

This is why the ending falls flat. Instead of seeing Russell's Olivia, still sexually frustrated and mesmerized by the sight of Dan in handcuffs in the 1937 original, we have Danny cowering in a bathroom and Olivia waiting to call the police.

To really enjoy this film, I would advise not seeing the original!

Gripping thriller

[LDRose · 9/10 · 17 October 2005]

Night must fall is a riveting film with Albert Finney giving a fantastic performance. He plays Danny, the boyfriend of a kitchen maid (Sheila Hancock) who works for a wealthy widow. However, it isn't long before he sets his sights on the widow's daughter, Olivia (Susan Hampshire). Danny hides a terrible secret from those around him, he is not who people think he is. He is charming towards his girlfriend, his employer and even manages to win round Olivia, and it is this charm which makes his dark side even more frightening. Albert Finney is wonderful to watch, combining charm and humour with menace and danger. The supporting cast is also first-rate, there is a tense atmosphere throughout and it is a shame this film is so little-known - it is an excellent, suspenseful, engaging thriller.

Disappointing but not without it's strong points

[JohnSeal · 5/10 · 20 November 1999]

This remake of the 1937 film of the same name has one big drawback: a broad performance by Albert Finney as the stereotypical Mad Welshman. Turn the sound down and you'll enjoy a lovely looking film shot by Freddie Francis, who remains one of the great living cameramen (see his work for David Lynch in the magnificent "The Straight Story"). Everything about this film LOOKS great, and there's good acting by Mona Washbourne (as usual) but Finney doesn't know how to turn it off. A pity, considering he was just coming off Saturday Night and Sunday Morning, where he played an equally outrageous character to perfection.

Underrated; over criticized even by the filmmakers

[CountessGaviota · 10/10 · 31 July 2010]

Other reviewers have pretty much covered the synopsis of this film. I would just like to add that it really should be viewed with some consideration given to the time it was made. For those who feel Finney's performance was "over the top" remember in 1964 what the general perception was about a "crazy" or psychopathic person. The public wasn't as educated about or aware of what mental illness looks like.

Some historical context for this film for the reviewers who commented that Finney must really have wanted to make this film because he could do whatever he wanted after Tom Jones, and that he was trying to provide a showcase for himself. First of all this movie was released in 1964, but it was filmed before Tom Jones was released. Finney did not have carte Blanche to do anything he wanted at this stage. This film was not, in fact, the first choice for Karel Reisz and Albert Finney, who wanted to collaborate again after working on Saturday Night and Sunday Morning. They were not trying to make a showcase, but rather were excited about film making, and were trying to do something different and unusual. They originally planned to make a film about Ned Kelley, and had spent a lot of time and effort trying to put that project together, even going so far as to scout locations in Australia. However, the financial backing was from MGM, and at the last minute they pulled the financing from the Ned Kelley project and told Reisz and Finney they were doing a remake of Night Must Fall.

Both Director and Actor have said they didn't feel it was going well while they were making it, and they weren't happy with how it turned out; however, Tony Richardson said the same about Tom Jones. Sometimes, the artist doesn't appreciate his own masterpiece. I personally find Finney's performance riveting, the story suspenseful, and, as other people have mentioned, the cinematography as atmospheric and effective as you would expect from Freddy Francis. I'm obviously in the camp with those who think this is an overlooked gem. Everyone entitled to his/her own opinion, but I did want to clarify a little of the history. Also, it was probably just a typo by one reviewer, but Finney was 26/27, not his late thirties when this was being made, but yes I agree Ewan McGregor does resemble him.

Boring and pretentious though Finney chews the scenery to some effect

[35541m · 25 July 2011]

This project was done in a hurry when a proposal to make a film of Ned Kelly was axed by MGM due to budget worries (at this time Tom Jones had been filmed but not released).

It is not clear why Riesz decided to make a film of this play. Clearly, the part of Danny is tailor made for some show-off acting and Finney grabs the bull by the horns here. His only real mistake is to put on a silly 'boyo Welsh accent. True, the character was Welsh in the play but that's because the part was written by the playwright to play himself. Otherwise, there is no dramatic need for Danny to have a Welsh accent and Robert Montgomery didn't bother in the 1937 version.

The main difference between the film and the play is that the film reveals its hand in the first minute that Danny is a psycho killer. In the play, its not clear until near the end and much of the dialogue are cat n'mouse exchanges between Danny and Olivia.

The result of this is to create a somewhat boring film; you know who the killer is and thus spend an hour and a hour waiting for him to explode. When he does, it has little logic and, to an audience used to the likes of Psycho and its rip-offs like Homicidal, seeing Finney deliver one blow to an off-screen body that you never get to see was always going to be a serious let-down. His retreat into gibberish at the end I thought was uncharacteristic and a cop-out. You never find out who the real Danny is and why he has acted like he has done. I did enjoy the 'hangbags' between Sheila Hancock and Susan Hampshire on the high street of an authentically 60s wet Hertfordshire town.

Dull and dreary

[preppy-3 · 4/10 · 26 December 2007]

Wealthy widow Mrs. Bramson (Mona Washbourne) lives in the English countryside with her daughter Olivia (Susan Hampshire) and has a maid/cook named Dora (Sheila Hancock). Dora is pregnant from her boyfriend Danny (Albert Finney). What she doesn't know is that Danny is a psychopath. He charms Mrs. Bramson and starts playing mind games with Olivia and Dora...but he's slowly starting to unravel.

Rightly forgotten thriller. I'm no fan of the 1939 original but it's a masterpiece when compared to this. This was obviously a project Finney really wanted to do--he's one of the co-producers. This was done right after "Tom Jones" became a monster hit so Finney was able to do whatever he pleased. He probably picked this to prove to people that he could act and wasn't just the handsome ladies man he played in "Jones". Now, Finney IS a great actor but he's pretty dreadful in this. He overplays the role to an embarrassing degree. He's so obviously deranged that you wonder why anybody would be charmed or trust him. When he tries to show the violence in his character he looks more silly than anything else. He also adopts a stupid accent that renders most of his dialogue unintelligible. The script doesn't help. It's slow and wanders all over the place. There seem to be gaps in it too. In one scene we see Danny pretty much terrorizing Olivia who he caught in his room. The very next scene he's teaching her how to ride his motorcycle like nothing has happened! Another problem are the characters themselves--none of them are remotely likable. Dora comes across as whiny, Olivia as pathetic and Mrs. Bramson as a real vicious and cruel person. Who wants to spend two hours with these people?

There are a few good things about this. The acting by Hampshire, Hancock and Washbourne is good; there's a nice music score and it's shot appropriately in moody black & white. Still, this is a slow, dull thriller full of annoying characters. Might be worth watching to see Finney showing how you should NOT play a maniac. I give it a 4.

Impressive performance by Albert Finney

[swabidoo · 8/10 · 2 October 2006]

To each his own taste, but I have to disagree with the other review of this movie. I love Albert Finney's performance as a psychopath who has the gift of perceiving the innermost needs of those he meets and then molding his own personality to take advantage of those needs. (I don't know anyone from Wales, nor do I know what a stereotypical "mad Welshman" is.) He and Mona Washbourne play off each other superbly. I do agree with the other review's assessment of the cinematography, and especially love the lighting. To see Finney in TOM JONES (previous) or TWO FOR THE ROAD (following), although he is young, his face does have character and expression lines - he is human. The lighting in this movie smooths his face to make it seem devoid of affect; you feel that his reactions to the people and the world around him spring not from human emotion but from insanity. If you're an Albert Finney fan I definitely recommend viewing this movie and making your own judgment.

Sound Track Ruins IT

[arfdawg-1 · 4/10 · 5 June 2020]

This movie has the worst sound track I have ever heard. Over loud march like horns that screech through your ears into your head and make your nose bleed.

The movie didnt grab me either

It's OK but I didnt get pulled in