Assignment to Kill (1968)

 "I'm just calling to say I loathe and despise you and everything you stand for, and what time are you taking me to dinner tonight?"

At first this little film seems to be ripping off James Bond, what with its vague spy theme, its protagonist's great chemistry with the female lead and love interest, and the time it was made, I suppose. But instead it's something very different and, despite the at times pedestrian direction and the low wattage of its stars- although Herbert Lom and John Gielgud, both excellent, provide some heft- very good indeed.

Patrick O'Neal plays Cutter, an investigator of fraudulent insurance claims who finds himself in Zurich and a web of rather deadly intrigue. There he meets Dominique, with whom he establishes a rather delightful little romantic rapport with lots of Steed-and-Mrs-Peel type wit between the two of them. O'Neal is fine, but Joan Hackett is utterly superb.

Great though the characters are, though, this is a clever, complex thriller which has a highly satisfying ending, fully paying off all the intricate twists and turns. And yet, despite the film being essentially a puzzle box, at no point is it difficult to follow and the characters, wthin the limits of the genre, feel like real people.

And it's a real revelation seeing John Gielgud as a crime lord.

This is an odd little film with B list actors for its stars, but the script and most of the performances are superb, and the location of Zurich and the Swiss Alps is perfect. Highly recommended.

Asylum (1972)

"Never turn your back on a patient..."

I've seen a far few Amicus portmanteau horrors by now; I know the score: three or so flashback segments, each a suitably camp little horror story before the framing sequence becomes a story in its own right, with a twist at the end.

This film fits the template exactly and, while there are better examples among the other Amicus anthologies I've seen, this film doesn't disappoint in following the template to perfection while giving us some enjoyably camp body horror and some gleefully insentitive attitudes to mental heath, the camera lingering early on over some lurid old James Gilray cartoons set in a Georgian asylum.

The first sequence, starring a delightfully gruff Richard Todd, is splendidly bonkers, with body parts wrapped up in parcels attacking an adulterous couple in order to exact revenge. The whole concept starts out serious and sinister but soon dissolves superbly into farce in the best way possible.

The second story is a bizarre tale involving a tailor, Jewish stereotypes, and a great deal of fairytale logic. This one is genuinely creepy and arguably the best tale of the lot, with the dark fairytale quality and the presence of Peter Cushing elevating it somewhat, although it is of course as camp as a row of tents.

The third sequence, with Britt Ekland and Charlotte Rampling, perhaps drags a little and is slightly lacking in camp, although Rampling's evil laugh is a thing of magnificence. But the fourth sequence, with its little murdering doll, is just pure weirdness, but you have to admire the decision to actually proceed with something so stark raving bonkers. This is where the framing sequence comes into its own, with a strong performance from Robert Powell and a superb one from Geoffrey Bayldon.

Not every sequence is brilliant. But the whole film is enormous fun throughout.
 

The Dead Zone (1983)

"The missiles are flying!"

Two David Cronenberg films in one year? This film is probably a little less well known than Videodrome, which I liked a lot. But it's probably the better film.

I suppose it must be admitted that the film relies heavily on Stephen King's original novel, of which it's an adaptation and which I haven't seen. But the film is superbly shot and paced, Christopher Walken is superb as a decidedly non-heroic lead, and the cruelty of the various tragedies are all the more effective for their unsentimental depiction. Spielberg this ain't.

This is an unnerving depiction of a normal, decent but fallible person who develops psychic powers after an accident, but at the huge cost of losing five years of his life and, worse, the love of his life. His bitterness is very human, and I like how it takes him time to reluctantly use his "powers" to help people- although his conscience tends to prevail.

This is not a film about a superhero, but a realistic depiction of how frightening it must be to have "powers" which one can neither control or understand, which are unnerving and uncomfortable, and which bring pain, possible eventual death, unwanted fame and, ultimately, impossible moral dilemmas.

This is at once a tragic love story, a story about ethics and one of the most intelligent and thought provoking examination of the implications of psychic powers. Not a great film, perhaps, but a highly impressive one.