As the previous review states, "Lifespan" owes little to the genres of suspense or horror. Instead, it's a brainy, absorbing drama that's rewarding to those who give it a chance. Hiram Keller plays an American scientist picking up on the research of a colleague who committed suicide, and discovers he was on the verge of finding a cure to the aging process. Klaus Kinski is excellent (as always) in a small role as the owner of a sinister pharmaceutical company. The film plays out much like the early works of David Cronenberg (minus the violence and special effects); his fans should appreciate this. The only drawbacks, really, are an ambiguous ending (which actually fits the rest of the film), and the sometimes-corny, self-conscious voice-over narration. 3 stars out of 5.
9 Reviews
Fascinating and intelligent ..........
merklekranz20 January 2010
This movie is hard to categorize. Klaus Kinski has a minor part, so it really can't be considered an important Kinski movie. It is not a horror film, with only one unsettling grave desecration scene. What it is, is an intelligently made sci-fi, that deals with the unique subject of trying to overcome death, by extending lifespans. Beautifully filmed in Amsterdam, the film has sharp editing, and narration that keeps things on track, Hiram Keller is the rather detached American scientist who is trying to unravel a dead colleague's immortality experiments. Klaus Kinski is the Swiss pharmaceutical company owner seeking death control for his own use. Tina Aumont is a love interest for both Keller and Kinski, with her totally gratuitous bondage scene unnecessary except perhaps for some titillating promotion. The ending leaves things hanging uncomfortably, but if you go in with realistic expectations, "Lifespan" will reward. - MERK
LIFESPAN (Alexander Whitelaw, 1974) ***
Bunuel197619 June 2006
Despite the rather lethargic pace, this is an absorbing conspiracy thriller on an existentialist theme. As it was shot in English, even if most of the voices were eventually re-dubbed at a later stage, Fons Rademakers' heavy accent makes his dialogue hard to understand at times!
Anyway, many have found Hiram Keller's inexpressive performance a detriment to the film but I rather liked it (and so, apparently, does director Whitelaw!); the fact that a lot of the exposition is imparted through narration has been criticized as well, but I also thought this worked very well for the film. Much has also been said about the notorious (and oft-censored) bondage scene involving Tina Aumont (well cast here): actually, it's very discreetly done and pretty short in itself! And though Klaus Kinski doesn't get to exert his acting muscles a great deal, his Mephistophelean presence adds to the film's uniquely disquieting aura. Besides, the Amsterdam setting (and Eddy van der Enden's lugubrious photography of it) is a big plus, as is Terry Riley's electronic score.
Whitelaw's rather choppily edited interview and full-length Audio Commentary (moderated by Mondo Macabro's Peter Tombs) are very interesting: the director explains several points which may not have been very clear and draws attention to the irony which is present in his script. Besides recounting many an amusing anecdote about the production (Kinski turning up on set dressed as a Mexican bandit and Whitelaw having to calmly persuade him that his role of "The Swiss Man" was somewhat different!; Kinski's minimal dialogue was also the result of his dislike of the script, whereupon whole chunks of lines he was supposed to say were unceremoniously thrown out!) and the censorship problems the film encountered (the director tried to convince the U.K. censors that the bondage scene was relevant to the main theme by arguing that this kinky act highlighted a woman's breasts which, by storing milk, are themselves a symbol of immortality!). Whitelaw also puts the unresolved and apparently downbeat ending in the context of the film's theme by saying that a picture about immortality, i.e. the desire that one's life doesn't come to an end, could never have a conventional finish as that would mean it was actually embracing death! Interestingly, he mentions too that Roman Polanski (who was a member of the jury where LIFESPAN won an award) had admired the picture a lot - and this was eventually reflected in his own next film, THE TENANT (1976), to which it bears a striking resemblance plot-wise (though itself based on a work of fiction by Roland Topor, of which Whitelaw was completely unaware at the time)!!
Anyway, many have found Hiram Keller's inexpressive performance a detriment to the film but I rather liked it (and so, apparently, does director Whitelaw!); the fact that a lot of the exposition is imparted through narration has been criticized as well, but I also thought this worked very well for the film. Much has also been said about the notorious (and oft-censored) bondage scene involving Tina Aumont (well cast here): actually, it's very discreetly done and pretty short in itself! And though Klaus Kinski doesn't get to exert his acting muscles a great deal, his Mephistophelean presence adds to the film's uniquely disquieting aura. Besides, the Amsterdam setting (and Eddy van der Enden's lugubrious photography of it) is a big plus, as is Terry Riley's electronic score.
Whitelaw's rather choppily edited interview and full-length Audio Commentary (moderated by Mondo Macabro's Peter Tombs) are very interesting: the director explains several points which may not have been very clear and draws attention to the irony which is present in his script. Besides recounting many an amusing anecdote about the production (Kinski turning up on set dressed as a Mexican bandit and Whitelaw having to calmly persuade him that his role of "The Swiss Man" was somewhat different!; Kinski's minimal dialogue was also the result of his dislike of the script, whereupon whole chunks of lines he was supposed to say were unceremoniously thrown out!) and the censorship problems the film encountered (the director tried to convince the U.K. censors that the bondage scene was relevant to the main theme by arguing that this kinky act highlighted a woman's breasts which, by storing milk, are themselves a symbol of immortality!). Whitelaw also puts the unresolved and apparently downbeat ending in the context of the film's theme by saying that a picture about immortality, i.e. the desire that one's life doesn't come to an end, could never have a conventional finish as that would mean it was actually embracing death! Interestingly, he mentions too that Roman Polanski (who was a member of the jury where LIFESPAN won an award) had admired the picture a lot - and this was eventually reflected in his own next film, THE TENANT (1976), to which it bears a striking resemblance plot-wise (though itself based on a work of fiction by Roland Topor, of which Whitelaw was completely unaware at the time)!!
Slow but interesting low key drama about the search for immortality.
Infofreak26 December 2002
'Lifespan' is an interesting and low key film that may put viewers off when it misleadingly appears to be a horror movie starring Klaus Kinski, and fails to deliver just what the audience expects. The plot may deal with death, features a gruesome and creepy grave digging scene, and revolves around (a possibly) mad scientist, but it is in no way a horror movie. Even the description of "thriller" is a little off the mark. Many may find it too slow, but I think it suited the material. The other problem is that despite the video packaging on the old VHS copy I watched the legendary Kinski ('Nosferatu', 'Crawlspace', 'Venom') has only a small, albeit important, supporting role as "the Swiss man." The real star of the movie, though sadly he has little star power, is Hiram Keller ('Seven Death's In The Cats Eye') who plays Dr. Ben Land, a young and driven scientist who takes over the work of a dead colleague who was investigating halting the ageing process. Land becomes increasingly obsessed with his experiments, believing the older man was close to cracking the secret of immortality. While continuing the research he also begins an affair with the dead man's mistress (the sultry Tina Aumont, who played Helmut Berger's wife in the sexploitation classic 'Salon Kitty'), and begins to wonder just exactly what the shadowy "Swiss man" Ulrich (Kinski) has to do with it all. I enjoyed 'Lifespan' a lot more than I expected, especially once I shook off my horror expectations, and got over my disappointment at the relative lack of Kinski, the main reason I watched it in the first place. Keller makes a dull leading man, the ending is a bit anti-climactic and probably not to everyone's taste, but I say give it a go, you might find this odd movie to be as curious and watchable as I did.
And starring Klaus Kinski as the silent spectator...
Coventry18 August 2019
Apart from featuring Klaus Kinski's name prominently on the DVD-cover, "Lifespan" also caught my attention because there were a lot of Dutch-sounding names in the cast. Indeed so, this bizarre cult co-production entirely takes place in the beautiful city of Amsterdam and the makers admirably took the effort to cast local actors and actresses for the supportive roles. It's a derivative and slow, but nevertheless compelling Sci-Fi/thriller about science's eternal quest for immortality. The ambitious American student Ben Land enrolls into the University of Amsterdam, eager to learn from his idol, Dr. Paul Linden, who allegedly stands on the verge of a medical breakthrough regarding prolonging human life. One day after Land's arrival, however, he finds Linden hanging in a noose from the ceiling (funny how the last thing he said to Land was: "tomorrow I'll be tied up"). With the support of the Dean, the brilliant and stubborn young student deep-dives into Linden's research and discovers successful results on lab mice and dubious experiments in old folks' homes. He also takes over the relationship with Linden's stunningly beautiful mistress Anna and learns about the connection with a mysterious Swiss pharmacist. "Lifespan" is tense and absorbing, but it seriously suffers from a lack of action, and particularly fans of horror & gore will be sorely disappointed! The film was released under the Mondo Macabro label but, like with "Crazy Love", I don't feel it really belongs among the other titles there. As for Klaus Kinski, this was clearly just another easy paycheck for him to cash in. Throughout half of the film, he only stands around and observes Ben Land from a distance. Later on, his role is slightly more extended, and he even gets to fondle ...'s beautiful naked body whilst wearing an antique death mask! You're the man, Klaus!
Eurocinema little gem
nocheblanche21 July 2018
Lifespan is a paced euro movie that sets your brain thinking after you have watched the end credits. Shot in the Netherlands with some very nice location shooting locations , perhaps because i live in Europe and know Amsterdam a bit i can relate to the film more.
Director Sandy Whitelaw seems with this movie offers Klaus Kinski in a more solid more relaxed part playing the Swiss Man with that European style himself asking and wanting and is prepared to pay for it.
This movie has a fresh brisk pace rather like a Autumn morning in Amsterdam Centrum.
The lack of decent action and incident make this weird thriller a bit of a bore
Leofwine_draca17 August 2016
Warning: Spoilers
Here's a bizarre thriller from Holland which doesn't really go anywhere despite an intriguing premise - and bizarrely ends up caught up in the dream world of a raving maniac! LIFESPAN is similar to films like FRAGMENT OF FEAR and SPIDER LABYRINTH in its depiction of an outsider finding himself going deeper and deeper into a world of mystery and death but it doesn't come close to the power and effectiveness of those two movies. Despite being classified in the "horror" section, the only true horror comes from the scene of a gruesome hanging, and otherwise this sits firmly in the mystery/thriller genre.
The plot doesn't really ever get too deep but despite this, I still found myself confused by the film. This is a shame as it starts off well, with much promise of things to come, and an oppressive air of mystery as well. The Amsterdam locations are used very well to give the film an unusual, European look and the acting isn't bad either, although the post-dubbing is occasionally echoey and unrealistic. Hiram Keller takes the lead role of the young scientist caught up in the intrigue and does a pretty good job of it in my opinion, although his droning voice-over is pretty sleep-inducing. Tina Aumont is good as the femme fatale, and Euro-favourite Klaus Kinski also pops up as a mystery Swiss who hangs around on street corners mysteriously.
Sadly as the film goes on, it begins to become apparent that nothing much is going to happen in it, despite vain attempts to throw a bit of kinky sex and grave-robbing into the brew to make it appeal to exploitation fans. In the end it becomes irritatingly insubstantial and the lack of any real, interesting, explanation for the mysterious events is pretty annoying. LIFESPAN is a missed opportunity which should only be watched at a last resort for the spooky atmosphere it contains, and at least it's short. But the lack of any decent action or plot development is very boring and its one of the few films that has nearly sent me to sleep.
The plot doesn't really ever get too deep but despite this, I still found myself confused by the film. This is a shame as it starts off well, with much promise of things to come, and an oppressive air of mystery as well. The Amsterdam locations are used very well to give the film an unusual, European look and the acting isn't bad either, although the post-dubbing is occasionally echoey and unrealistic. Hiram Keller takes the lead role of the young scientist caught up in the intrigue and does a pretty good job of it in my opinion, although his droning voice-over is pretty sleep-inducing. Tina Aumont is good as the femme fatale, and Euro-favourite Klaus Kinski also pops up as a mystery Swiss who hangs around on street corners mysteriously.
Sadly as the film goes on, it begins to become apparent that nothing much is going to happen in it, despite vain attempts to throw a bit of kinky sex and grave-robbing into the brew to make it appeal to exploitation fans. In the end it becomes irritatingly insubstantial and the lack of any real, interesting, explanation for the mysterious events is pretty annoying. LIFESPAN is a missed opportunity which should only be watched at a last resort for the spooky atmosphere it contains, and at least it's short. But the lack of any decent action or plot development is very boring and its one of the few films that has nearly sent me to sleep.
Ahead of its Time
EdgarST27 September 2016
"Lifespan" is a partially successful film, beset by too naive dramatic turns and dialogues in view of the serious issues addressed in its plot (a young doctor who aspires to immortality and achieve the status of God, while his words reveal a high level of gerontophobia) and gratuitous eroticism that mostly adds to expose the anatomy of the leading lady, a character that contributes little to the plot. However, the film covers several topics concerning the survival of humanity which are strongly current today, making this drama of scientific anticipation (rather than science-fiction) a visionary film, albeit on a small scale. "Lifespan" addresses the global status of drug factories, which are supposed to alleviate humanity's ills. Today financial gain has been imposed upon people's welfare, supported by a "natural selection" of the fittest based on the individuals' riches, which, as anybody knows, are the results of many persons' greed and hoarding of material goods of our planet, which by nature (and elementary philosophical reasoning) belong to everybody. Moreover, "Lifespan" speaks of vanity rather than mankind's need of immortality. The obsession of the three main males in the plot with the pretty and beautiful Anna is a reflection of man's desire to "entrap" this (so overrated) skin-deep stage of life, while the elderly are called "the almost dead". In this age of mutilating surgeries, pseudo- transformations of gender, anatomy and curves, "Lifespan" is very much in force and delights in the beautiful faces and bodies of its dream cast, which reunites three icons of the counterculture beauty of the 1970s: American Hiram Keller, French Tina Aumont and West German Klaus Kinski. If one is a bit tolerant of the limitations I have noted, you will find a high level of inspiration that often reaches moments of fascination, that, although not maintained throughout the duration of the film, constitute a time capsule of an era, of a way of thinking and seeing the world that anticipated how our own would be. Recommendable.
An Underrated Gem Of A Suspense-Drama Film. Superb And Thought-Provoking!
Vivekmaru4514 February 2011
This story is beautifully told and is seen through the eyes of an American doctor Ben Land (Hiram Keller). He travels to Amsterdam to attend a convention on the topic of aging and the lifespan of man. There he sees the celebrated Dr. Linden, an expert on aging who is supposedly close to a breakthrough.
Having forgotten to extend his hotel reservation, Ben finds himself stranded without a place of accommodation. He is helped by Dr. Linden who says that he could move in to his rooms the next day and stay as long as he wished. He also said that his landlady is an old friend of his and that he would have no trouble moving in.
Having a desire to talk to Linden the next day, Land inquires whether he would be available. Linden gives a passing remark that he would be "tied up the next day" and calmly walks off without a word.
The next day he is greeted by the landlady who remarks on the youthful appearance of Ben. Then he is lead to Linden's quarters. On opening the door they are witness to a gruesome scene: Dr. Linden is found hanging from a rope hooked to the ceiling-beam.
What was the reason that caused Linden to hand himself? And what of his secretive research into the process of aging? Had he achieved a success with his experiments?
These are the things you will find out when you seen the film to its eventual end.
This film shows some erotic scenes and is therefore not suitable for children.
The film also stars Klaus Kinski and the beautiful Tina Aumont. The film is directed by Sandy Whitelaw and written by him along with Judith Rascoe and Alva Ruben. The Cinematography is by Eduard van der Enden.
Verdict: 10/10. Add it to your DVD collection.
Having forgotten to extend his hotel reservation, Ben finds himself stranded without a place of accommodation. He is helped by Dr. Linden who says that he could move in to his rooms the next day and stay as long as he wished. He also said that his landlady is an old friend of his and that he would have no trouble moving in.
Having a desire to talk to Linden the next day, Land inquires whether he would be available. Linden gives a passing remark that he would be "tied up the next day" and calmly walks off without a word.
The next day he is greeted by the landlady who remarks on the youthful appearance of Ben. Then he is lead to Linden's quarters. On opening the door they are witness to a gruesome scene: Dr. Linden is found hanging from a rope hooked to the ceiling-beam.
What was the reason that caused Linden to hand himself? And what of his secretive research into the process of aging? Had he achieved a success with his experiments?
These are the things you will find out when you seen the film to its eventual end.
This film shows some erotic scenes and is therefore not suitable for children.
The film also stars Klaus Kinski and the beautiful Tina Aumont. The film is directed by Sandy Whitelaw and written by him along with Judith Rascoe and Alva Ruben. The Cinematography is by Eduard van der Enden.
Verdict: 10/10. Add it to your DVD collection.
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