The Nightcomers

source: The Nightcomers

Marlon Brando's sole horror movie vehicle is a disturbing, eerie and underrated affair that deserves more praise. Intended as a prequel of sorts to Henry James' "The Turn of the Screw", it is often said to be a follow-up film to Jack Clayton's mesmerizing adaptation of the latter, "The Innocents". Thus, people wanting to see "The Innocents" all over again are bound to be disappointed. For starters, "The Nightcomers" is not even a ghost story to begin with, and can be described as being more of a dark drama with horror overtones, with the underlying theme of sexual-repression being one of the few things the two films share. Although Miles and Flora kill the two so they can at least be together, even if after death, the matter is not dealt in a supernatural way at all. In fact, considering how there are no ghostly manifestations of their dead parents leaves the audience to believe (well, at least those unfamiliar with either James' or Clayton's work) that they were simply insane, in a way more akin to Carlos Henrique Taboada's "Veneno para las Hadas". The final scenes gives a sense of hoplesness, rather than the creepy-but-macabre tone some might expect. As it is often said, Brando's performance as Peter Quint is brilliant, and should be compared to his similar work in "Last Tango in Paris" the following year. In fact, I wonder if Bertolucci ever saw this film before casting Brando as Paul in "Last Tango...". In this one, he manages to convey sympathy and melancholy for his rather brute and vicious character. Stephanie Beacham holds up extremely well against Brando, and they a strangely effective chemistry between them. Thora Hird is delightfully annoying as intended, and the younger actors who play Miles and Flora are quite convincing as well for their young age, and come across as being quite creepy. Tame though they are, the scenes where the two start imitating Quint and Jessell are quite disturbing to say the least. The film also benefits heavily from a bittersweet sense of humor and witty one-liners, that thankfully does not ruin the omnipresent sense of dread and sexual frustration, only enhance it. "The Nightcomers" has been often criticized for being dullishly directed, which surprises me since the whole thing was anything but dull in my view. Surely, some scenes go on for a bit too long, but it's not like they ruin the film. Winner goes for a more naturalistic approach as opposed to Clayton's more nightmarish, otherworldly take, and us such, the film is a real marvel to look at. Winner makes perfect use of the locations at the British countryside, landing a lot to the thick, brooding atmosphere. The musical score, though not particularly memorable, fits perfectly with it's beautiful imagery. Overall, while not a perfect film, "The Nightcomers" has plenty to offer to the open-minded. Just do not expect anything close to "The Innocents", or Winner's later, more "hardcore" horror entry "The Sentinel". 9/10

Although the sets and cinematography are scrupulously suggestive of the early 20th century in the United Kingdom and the performances quite good, The Nightcomers never quite gels as a Gothic horror classic. Maybe we see a bit too much of ourselves and don't like to think of the implications of what we're watching. The children of a wealthy British family are left orphaned by the deaths of their parents in a motor car crash. A cousin who is the closest relation to the father Harry Andrews is at the estate to tidy up affairs, but has no desire to stay there or act as a parent to these two. Never mind, they are amply provided for with cook and governess who are Thora Hird and Stephanie Beacham. The father had a valet played by Marlon Brando and since there is clearly no need for one now he's relegated to the gardener's duties. Brando's delightful Irish gardener Quint bonds with the kids. He's full of blarney and charm, but that cheerful exterior hides a rather complex and sadistic being. The kids catch him and Beacham in some kind of bondage game as Brando initiates Beacham into the finer points sadomasochistic sex. Both children take careful notes. The kids are played by Christopher Ellis and Verna Harvey. In the end what happens sets the stage for Henry James's classic Gothic horror tale The Turn Of The Screw. That was brought to the screen ten years earlier as The Innocents which starred Deborah Kerr as the new governess for the kids. According to The Nightcomers, The Innocents would be the last thing anyone would have entitled that film. Fine performances, wonderful sets and cinematography, yet the film just lacks a spark to consider it a classic. Marlon Brando's fans will want to see it though.

Made just before "The Godfather" saved his career and changed his life, "The Nightcommers" shows just what a desperate state Brando's career was in. This deeply terrible film is awful in a lot of fairly interesting ways, however, and a curious movie hound will want to endure it's wretched 96 minutes. It should be noted that this prequil violates both James's "The Turn Of The Screw" and "The Innocents" the great film of that novel. It comes off like many cheap brit or Italian horror films, with a clumsy and offensive sex scene thrown in. Michael Winner's reputation as a terrible director was well earned. Scene after awful scene is handled clumsily and the ending is really terrible. Oddly, the film foreshadows both "Last Tango" and "The Missouri Breaks" where Brando once again used his Irish accent. If you, like me, respect the still controversial "Last Tango" as a classic, the movie will be even more painful. Brando, handsome but already gaining girth, was forced by Bertoluchi to drop twenty pounds, we can see why. The whole point of The Novel is that we cannot be sure WHAT happened at Bly, and this film provides a most unwelcome explanation.

The Nightcomers is an odd, depressingly dull film from the director of many bad movies Michael Winner. What distinguishes it from most other bad Michael Winner films is that it stars the great Marlon Brando, in one of the most curious roles of his career. Brando is excellent in this, but in spite of his efforts the movie still fails to ignite. The story takes its inspiration (if that's the right word) from the Henry James classic The Turn of the Screw. It explores the reasons behind the childrens' disturbed behaviour in that literary masterpiece, concluding that they were affected by witnessing sexual games and acts of aggression in their infancy. The action takes place at a Victorian mansion, where the two children finds themselves drawn to the gardener (Brando), a strange, philosophising peasant who casts an evil aura over the entire household. In one particularly distasteful scene, Brando demonstrates his cruelty by showing the children how to explode a frog. In another, he is seen performing sexual bondage upon the governess of the house Stephanie Beacham. There was probably a worthy film somewhere amidst this material. The central idea is interesting and the performances are interesting too. The key problem is Winner's fussiness as a director, constantly distracting the audience with his zooms and close-ups and bizarre camera angles. This is a film ripe for the remake factory. Just as long as Michael Winner doesn't get his hands on it again.

A prequel to Henry James's ¨The turn of the screw¨ wherein a worker named Peter Quint (Marlon Brando) trysts with the governess Miss Jessel (Stephanie Beacham)of two malicious children named Miles and his younger sister Flora (Harvey and Chris Ellis) who are in her care and located at Bly manor. Yet another special version of the Henry James classic with drama, tension, sexual games and splendid exteriors. Good performance from Marlon Brando as sadist Irish gardener and Stephanie Beacham as the young, too-impressionable governess and submitted to masochist relations with Quint, whom she thinks is corrupting the innocent kids . Furthermore the watchful and voyeurs children possessed by evil who think which lovers unite in death , they are finely played by Ellis and Harvey. And the housekeeper performed by Thora Hird who believes Peter Quint influence on the young children was thought to be malevolent. The film packs evocative photography in a good restoring by Robert Paynter and sensational musical score by Jerry Fielding. The picture is acceptably directed by Michael Winner. He had important commercial success in the mid-70 with his * actor, Charles Bronson , achieving various box-office hits, as ¨Deathwish I and II, furthermore ¨The mechanics¨ and ¨The stone killer¨. Other adaptations about ¨Henry James' The turn of the screw¨ are the followings : Turn of the Screw (1974) by Dan Curtis with Lynn Redgrave; (1989) by Graeme Clifford with Amy Irving and David Hemmings; (1992) by Rutsy Lemorande with Patsy Kensit, Julian Sands and Stephane Audran; (1999) by Ben Bolt with Jodhi May, Pam Ferris and Colin Firth. And of course the classic and best version ,the incredibly eerie rendition titled ¨The innocents (61)¨ by Jack Clayton with Deborah Kerr, Pamela Franklin and Martin Stephens where the protagonist begins to see the specters of Miss Jessel and Peter Quint .

Originally I would have given this film a 3 out of 10 but I read the reviews and I disagree with all of them so I gave it a one. First of all, Marlon Brando has no range. If he is not mumbling, he is overextending himself. Brando is the most overrated actor in history. After Mutiny on the Bounty, he lost his status in Hollywood. He regained it with the Godfather. This was made before the Godfather. If you only saw On the Waterfront, A Streetcar Named Desire or the Godfather, you would think that he was a great actor. I saw those films first and wanted to see more of his movies. However, each movie of his reveals more flaws than any perceived greatness. In this film, the Nightcomers, Brando is either overacting or not acting at all. He stands around and broods as the camera pans. I don't care about Quint, who is a bum but stays employed because the new guardian of the children doesn't care. Guess what? Neither do I. The children and the rest of the supporting cast are plastic toys used poorly by Michael Winner, the director. A great actor could have made something of this script and a great director could have made something of this pathetic actor. Neither showed up for the shoot. There is good material for a film but everyone handles their roles so poorly that the film rambles on without a point. It is extremely boring. Whether or not it was a prequel or not does not matter at all. Brando is saying, "I'm Brando doing Brando acting and you're going to like it because I'm Brando, d***it." I keep thinking of Eddie Murphy as Gumby when I watch Brando. My advice: Watch a Bogart film. Bogart is enjoyable to watch even if the film is awful. Or watch the Godfather, On the Waterfront or A Streetcar Named Desire. Every other film of Brando's irritated me to no end.

The Innocents implies, but Nightcomers delivers the rare emotional flesh of the under belly of Henry James story. It is appropriate to the tale for the audience to experience the sexual paradox of SM, to understand the true power of Quant over the children. What will these children be like when they mature into adults? Or will they develop into adults ever? Fascinating story. Brando was perfect for this story, and I am sure, his own psychology included such behaviors. Prick ones body to find ones soul? The levels of pain and pleasure become blurred as in real SM experiences....one does not know where one begins and the other ends. A valid depiction of the pain +pleasure paradox is soundly explored. The audience is given a crash course to SM which enables the intelligent observer to taste and enmesh the aspects of this paradox. All feelings are permitted to be touched. I am sure it will be unsettling emotionally far after one leaves the theater or the click of your remote. Its excellent theater and well told with a master teacher in Brando as your spiritual guide.

Marlon Brando is just amazing in this extraordinary film.Most people don't understand Brando's career choices .But I think that as years go by,they will.His ideas were way ahead of his time.His talent and range were unbelievable.Every actor tries to imitate his intensity (deniro,penn,nolte,.....) with no success.Definitely the king of acting.

Made at a time when Brando was doing very little on film (and when he did, could do no right, if one examines the reviews and box office returns of his films during this period), this prequel to "The Innocents" (which was based on Henry James' "The Turn of the Screw") has little going for it, but may still provide some interest to fans of his. Brando plays a valet whose employer and wife have died in India. The couple's two children come to live at their parents' estate and Brando stays on as a gardener/handyman. Also in residence is a persnickety maid (Hyrd) and a refined nanny/schoolteacher (Beacham.) These five form an uneasy existence with each other as the children hang on the earthy and repugnant Brando's every word and Brando repeatedly seduces Beacham with increasing sadomasochism. Hyrd tries to keep everyone in check to no avail. Finally, the machinations and misunderstandings culminate in a burst of violence, just in time for the story to peter out and set up for the beginning of the original. Brando is an acquired taste here. It's one of his performances in which it's the audience's duty (burden?) to figure out what he is doing and what he is saying. He's messy, flabby, often unintelligible and, naturally, self-indulgent. Nonetheless, fans of his may lap it up with relish. Beacham does a nice enough job, but can't hope to win any scenes up against the ACTING of Brando. The children (scarcely heard of again after this) are the typical bratty, snotty, unattractive, impossible kids that have been seen in countless British movies. The most interesting performance in the film is actually that of Hyrd. She brings a lot of variety and detail to her role of the housekeeper. Andrews pops up briefly and effectively as the children's' disinterested uncle. The film is stacked with unappetizing and repulsive scenes such as a frog being killed, a turtle being mistreated, chicken feathers being ripped out by hand and then, of course, the "arty" S&M sex scenes between Brando and Beacham. These tasteless (and rather boring) sequences don't illuminate the characters or entertain the audience and so are pretty pointless. There's a grain of interest in the material, but the sloppy direction and awkward script don't help keep it going. Stay awake for Beacham's hilarious final screen moment and for Brando's as well. Fortunately, for him, "The Godfather" was just around the corner.